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It has the slight failing that it can't quite decide if it ought to be another _Stress Analysis of a Strapless Evening Gown_ or not, so there's a few paragraphs to skip here and there.
The rest is great.
I can quote from memory my favorite system axioms:
``Systems grow, and as they grow they encroach.''
``Systems attract systems-people.''
``Intra-system goals come first.''
``Reality is whatever is reported to the system.''
``Fail-safe systems fail by failing to fail safe.''
My favorite chapter is ``Administrative Encirclement,'' where each researcher is asked to write out his objectives.
The deepest insight, very subtle indeed, is Orwell's Inversion: the confusion of input and output:
``Example: A giant program is to Conquer Cancer is begun. At the end of five years, cancer has not been conquered, but one thousand research papers have been published. In addition, one million copies of a pamphlet entitled ``You and the War Against Cancer'' have been distributed. Those publications will absolutely be regarded as Output rather than Input.''
Nobody who knows the book will be surprised that the biggest killers of dogs today are humane societies.
People who follow the book will understand why the small early version _General Systemantics_ (1975), privately published, is an absolute gem; this version is pretty good, almost the same; and today's version (_...the underground text..._) is expanded beyond belief. The author has made it a system.
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The excellent material is carefully organized within an especially appropriate format: a Prologue (written by Harold Ramis), followed by "Now Playing" (a brief history of film theaters) and then eight "Scenes" which focus on specific developments such as Saturday matinees and drive-ins. The illustrations (especially archival photographs, most in full-color) are superb. I was surprised to learn that several of the most ornate theaters were located in small towns throughout the United States. Margolies and Gwathmey provide a wealth of historical information about the theaters themselves, of course, but also about the entertainment entrepreneurs (many of whom combined films with arcades and even vaudeville programs), and the architects they retained to design theaters for them. In most small towns, the film theater was the major (if not only) cultural center. More often than not, an usher in uniform (perhaps wearing white gloves) guided people to their seats. Once the film began, the same usher used a flashlight to assist late-arrivals.
In the final chapter (Scene Eight: Elegy), observe: "the beautiful and ornate movie theaters we went to when we were growing up live on in our minds. Many of them survive as treasured landmarks, painstakingly restored to their former opulent splendor. Nearly all have suffered sadder fates. An unfortunate few cling to life as porno houses. Others live hermit-crab existences as nightclubs, churches, and bowling alleys. The saddest of all stand as dying dreams, withering away on the Main Streets of America. The vast majority, however, were violently and irrevocably demolished, replaced by faceless cinder-block cinemas I, II, III, and IV on the edge of town. Drive-in theaters have had an even harder time. Decaying slabs and overgrown parking lots litter the borders of civilization. Others have disappeared completely, leaving no traces at all."
Now that I am in my anecdotage, I frequently reminisce about my childhood in Chicago, recalling so fondly what "going to the movies" was like at the Avalon, Chicago, Granada, Oriental, and Paradise theaters. Until recently, my three sons and daughter, and especially my older grandchildren, simply could not identify with the experiences I described. Thanks to Margolies and Gwathmey's book, now they can.
I highly recommend it to those who share my interest in icons such as the movie theater. Its evolution has been inextricably involved in the cultural history of the United States. It has certainly been of unique and enduring importance to me.
It's heartbreaking to me that most of these georgeous old theaters were shut down, to be replaces by sanatized 20 screen theaters that had nothing memorable about them, most even built without marquees, these days. This book will take you back before the term "multi-screen" was ever used, when they're were ushers to guide you down the dark aisles when you came in late, and those wonderfule snack bar trailers... "Let's go out to the lobby..." etc...
If you have a passion for movies, and the bygone age of Hollywood, you will love this book.
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This book also contains some unexpected gems including tips on how to get people to agree with you more often, how to use the telephone more successfully, and how to help your computer help you.
TimeSmart is tight, concise, easy to read, and inspiring. It really will help you get more done in less time. Highly recommended!
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This famously difficult problem is the subject of Augustine's "The Trinity". In addressing it, he has two motives. His first motive is to combat non-Trinitarian heresy by showing the scriptural support for the concept and by showing that it is not inherently contradictory. His second motive is to attempt to understand the Trinity more deeply, to satisfy the scriptural directive to "seek His face evermore".
"The Trinity" is a long book, the second longest work in the Augustinian corpus, and one that he worked on, intermittently, for sixteen years. He might not have finished it had not the unauthorized publication of the first twelve "books", led him to write the final three in order to avoid having the work available only in an incomplete form.
"The Trinity" begins with a consideration of the Scriptural references to the Trinity, with the aim of reconciling them and explaining them through the supposition of three equal persons in one God. Augustine is at particular pains to maintain the equality of the persons: that the Son is equal to the Father, and the Holy Spirit equal to both. Of particular concern to Augustine are the references to the Son and Holy Spirit being sent, with the implication that the Father who sends must be superior to them. This presentation takes up the first eight books.
From there Augustine aims to develop some deeper understanding of the nature of the Trinity. His approach is to use the fact that the Man was created in the image of God. Given this, Augustine reasons, there should be some image of the Trinity in man. This leads to the consideration of a succession of trinities - the lover, beloved, and love; memory, understanding, and will; the objects of sense, the will to attend to them, and the sense impressions of them; etc. This presentation, which take up the next four books, is interesting, but often perplexing. It is easy for the reader to see that the trinities he names are not analogues of the divine Trinity, and it can be perplexing to attempt to understand how Augustine intends to bring this discussion of the trinities in man together.
It is in the last few books, written after the premature publication of the earlier books, that Augustine works to reverse the centrifugal tendencies of his discussion of the trinities in man and unify them into a whole. The trinities in man are held up not as exact analogues to that in God, but as a ladder, starting with the most carnal and rising towards the most spiritual; we do not find a single Trinity like that of God within ourselves, but we do find a series of them that we can ascend, and in ascending it we approach the divine Trinity and a deeper understanding of God.
This work is more than just an exposition of theology. Augustine has a long discussion of perception (memory, understanding and will), because he needs to give an account for how human seeing can fulfill its supernatural vocation to see God. Some of his discussion anticipates some of the concerns of the Enlightenment. E.g. if the representation I recall in my mind is from my memory, but is also shaped by my will, how do I know I have an accurate representation of reality?
Another reason to get this work is that any attempt to tackle the Trinity ends up by a mini-systematics. In a fairly short space, a close read of the work will pay a mountain of dividends.
In particular, Edmund Hill did an invaluable job editing and translating the work. The introductory notes, the endnotes, and the essays scattered throughout the work are worth the price of the book itself. I have gotten a lot more out of the work because of Hill's commentary (and they are not overly intrusive). Some of Hill's translations are a little bit too colloquial for my taste, but he wanted to write a dynamic translation. If you want a literal translation of this work, you can like in other places.
All in all, this is one of the all-time classics in Christian theology.
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This book makes a nice coffee table book, and it lends itself to casual reading. But if you're serious about the weather, you can get a lot from this book as well. There's a chapter on setting up your own weather instruments at home and keeping a weather diary. And the appendix lists a number of websites where you can learn even more about the weather. No more glib answers from me when someone says, "How about this weather?"
Though jocularly written, this is really valuable, stimulating material. Its aphorisms may read like jokes, but they are all the more valuable for being quotable and easy to remember in context. Thinking back on all the godawful systems that I have seen, political, management, engineering and computer, there is not one that could not have been mitigated by intelligent anticipatory digestion of this book.
Unfortunately mentalities prominent among power-seekers, control freaks and grandiose designers, not to mention outright dishonesty among managers with conflicts of interest, cause considerable resistance to the ideas and attitudes that Gall promotes. If you are one such, I have nothing to say to you. If on the other hand you enjoy a bit of thoughtful and edifying entertainment, do your best to read this book.