Design Books

This book is quite in depth. It covers the basics very quickly at first and then goes deep. Any one wanting to have a comprehensive book on the skills of after effects this book is for you.

I'm an avid editor for a major tv network. My job now requires me to use After Effects for some basic effects work. This book has already put me way beyond my required needs for my job. We have separate department for motion graphics. I'm pushing the envelope and really supplying some fantastic work.
GET THIS BOOK!

This is a great book that can help any level of AE user. Great tips and time saving techniques. I recommend it as a book to keep within reach at your work station.

I really enjoy the way the book presents the material. It's easy to read and follow the step by step tutorials. The included disc contains each tutorial that the book covers so that you can follow along and test each and every step. It makes learning After Effects easy and fun to work with. It's great for beginners as well as experienced users of the software. This book will stay on my bookshelf as a quick reference.

Advanced After Effects Motion Graphics is for the editor with some AE miles under their belt. It is not really a beginner book, but does start you off slowly with great step by step instruction. However, you will eventually need this book but buy it together with the Meyers' After Effects Apprentice which starts you off in the AE wourld. Any of the Meyers books are just what you need to learn AE. Highly recommended!!

In my estimation The Data Warehouse ETL Toolkit is a good source of information for the topic that covers the majority of your Data Warehouse efforts, the ETL process (or ECCD if you prefer, which you probably will after finishing this volume). I took away some good ideas on items that I probably would not have considered, mostly due to my own ignorance, relating to Meta Data, QA and Error Corrections, Data Lineage and Scoring, etc.

The Authors (Kimball and Caserta) do a good job of pointing out other source books for items that the user will probably want to look at in depth.

There is also a pretty good section explaining how to manage your ETL project, the different roles of people who should be involved and a pretty good project plan / checklist to use as you are getting started.

My only complaint is that I did not read this prior to starting my own project and am instead having to correct items as I try to implement these best practices.

The book was mailed well within time mentioned by seller and is a new book.

A great basic tool book for datawarehousing and ETL. I've purchased for my teams here and in India.

This is a very good book from the Data Warehouse toolkit series by Ralph Kimball et al. This one is all about ETL - extract, transform and load, although the authors may put it a little bit different sometime:

[quote]
We expand the traditional ETL steps of extract, transform, and load into the more actionable steps of extract, clean, conform, and deliver, although we resist the temptation to change ETL into ECCD!
[/quote]

Anyhow, ETL or ECCD, it's the same thing - fetching the data from your live operational systems and putting it in your data warehouse.

The book thoroughly covers the entire ETL process. Believe me, I tried to squeeze a digest here. A few times. It goes out of hand. A lot, a huge lot of all sorts of information. Useful, extensive, clear and interesting to read.

Having read the first (?) book in the series - The Complete Guide to Dimensional Modeling -
helps greatly in understanding, because this book uses the same (standard) terminology - dimensions, facts, and so on.

Probably the only thing to whine about is the pictures. They could have definitely been better. Some of them are cryptic and some of them have no real value. Let's put it this way - some of the pictures do not help.

Anyhow, great book.

This book gives practical guidelines to follow through the ETL cycle, it does not matter if you are using an Industry Standard ETL tool or writing your own ETL process from scratch, this book will be useful for both. I found it very useful. Definitely worth a read for anyone who is new to ETL.

I have returned again and again to this book for new ideas. I feel I now have a new way of looking at decorating! Using eBay is such a great way to grab some bargains to get the look you're after! You'll be glad you have this book, it's fun to see how she did an entire house! Great detail shows how she did it step by step! You can plan your own house project or just get quick update ideas for a room. Enjoy!

A superbly produced book - with visually warm, personal and enticing colors, graphics and text, and beautiful photographs. Indeed, what can be done on Ebay at its finest. And one more thing...I loved the soft sock monkey touch.

You can decorate on a budget and stay in the range without even going to thrift stores and flea markets - not if you have a computer at home and DECORATING ON EBAY FAST AND STYLISH - ON A BUDGET in hand. Author Barbara Guggenheim is an art consultant who needed vintage items to decorate her Malibu beach house: she decided to try decorating an entire house using eBay and DECORATING ON EBAY chronicles her experiences. Tips include how and where to search within the sight, from locating furniture and fabrics to obtaining collectibles, and how to develop a personal decorating style on a budget. Her course in mastering ebay goes all the way from basic site navigation to winning bids and understanding the entire process. A 'must' for any decorating on a budget who wants to take full advantage of ebay listings; especially for those new to the auction/bidding process.

This is a book to pick up and kick back with, to scheme and dream effortlessly with, to have fun reading, giving, sharing, talking about. Ultimately, it will lead you to having a house embellished by your hobby, thanks to tips, hints and fun how-to's from Dr. Guggenheim, who is one of the few true art history scholars around who not only actually writes in readable English, but shares easy to use practical advice that can enable ordinary mortals to enjoy a good, rich slice of culture pie, anytime they feel like it. Having attended her art history lectures in the past, I always hoped she would start writing this kind of book, which like her teaching, makes us all not only believe, but know, that we can be true art collectors: that it's not about the size of our pocketbooks, it's about each of us giving freedom to our own very individual, very powerful imaginations.

Barbara Guggenheim's book was invaluable when decorating a home my wife and I recently bought in East Hampton, NY. We never had thought about using eBay for furniture and other home items, but following Barbara's guidelines ended up buying pretty much everything from sofas and beds to even rugs and curtains, and all while saving almost 30% of our estimated budget. The book is a MUST for anyone looking to redecorate, furnish, or replace items in a home. Also a great tool for any eBay hobbiests!

I found this an exellent book. The original design patterns book drew its examples from C++ applications. I could see a use for the patterns in C++, but I thought most of them would not have been necessary if the code had been written in Smalltalk.

This book did an excellent job of showing how and where the patterns could be used in Smalltalk applications. The authors also extended and clarified many of the pattern so that they were simplier to understand. The book is more than a companion to the GOF book; it is an enhancement of it.

This book gives you a better understanding of the patterns than in its original version (the GoF one). I am not a SmallTalk programmer but a 9 years C++ one. At work I had to use the GoF book and never liked reading it. In contrast to this, the SmallTalk companion is easy to read and you can understand the patterns within the first few lines of their description. Take the Bridge pattern and compare their discussions in the two books. If you really like the Gof one then buy it. But according to me, it would be a big mistake buying the GoF in favour of the SmallTalk companion. Trust a C++ programmer :-)

This isn't a Smalltalk translation of "Design Patterns." Instead, it's a companion to that book. You'll need to read the first one to get the most out of this one. If you have read the first one, you'll find this one is better written and really casts essential light on some of the GOF material. The Smalltalk aspects of this book are really a non-issue (except perhaps showing static-typers how many hoops you don't have to use in Smalltalk). This is required patterns reading.

I bought this book because of the unresolved questions I had after spending so many hours exploring the GoF original book. I am an experience C, C++, and Objective C programmer, not a Smalltalk guru at all. And I found the GoF very confusing and intimidating. My current projects these days are written in Java (I miss Objective C). I looked for a book that would cover the pattern catalog in Java because I was really questioning the purpose of some of them in that language. Creating some mechanism to overcome the C++ language is somewhat understandable, but why bother with Java. Take the prototype pattern for example: "...It's (the prototype pattern) less important (to use it) in languages like Smalltalk or Objective C that provides what amounts to a prototype..." (page 121) Sure, ok, but what about Java? Can you give me an example on how it would benefit a language that doesn't really require it like Obj C, or even Smalltalk? Then the sample code refers to the maze example but not much material is given here. I bought several books with Java and Design Patterns in the title but was very disappointed with the beginner level these books approach this problem. The titles are seductive but the content is not that great. I don't need another ADOO (I've read Larman's book already. Get it if you are new to OO BTW.) So I ended up getting that book as a last resort. And you know what? It's great. I program in Java all day (and sometimes all night, sigh...) and this book spends more time on my desk than the GoF original one. So, if this comments remind you some of your experience, you should give this book a try. And this book lighted up another bulb in my brain: I ended up downloading Squeak and prototyping in Smalltalk some of my projects just for the fun of it, but that's a side effect I guess ;-)

I found this an exellent book. The original design patterns book drew its examples from C++ applications. I could see a use for the patterns in C++, but I thought most of them would not have been necessary if the code had been written in Smalltalk.

This book did an excellent job of showing how and where the patterns could be used in Smalltalk applications. The authors also extended and clarified many of the pattern so that they were simplier to understand. The book is more than a companion to the GOF book; it is an enhancement of it.

Apologetics Concerning the Nature of Religion

Apologetics or is it antiapologetics, I have read Hodges arguments about cause and effect, primary and secondary causes in his work on systematic theology which was written a hundred years after this work. RC Sproulamong others discuss similar issues today with a contrary conclusion. David Hume's dialogue about the existence of God and the attributes of God does form some of the frame work for further philosophic and theological discussion. Some seems quite aimless like his discussion whether God is wholly other. Some theologians may make this statement and argument, but this certainly is not fundamentalist or scriptural perspective of God. What I found most interesting in this work is his discussion of causality. Mr. Hume's focus was on Natural theology or the idea that God could be perceived or not perceived through nature. But also included was knowing God through rationalization. To this he compared three notions:

{1} That there is a self existent Being who always existed, never created, and is the ultimate Cause of the whole universe. Something that never was caused, but is the cause of all else.

{2}That there is no ultimate cause. History is an infinite amount of causes and effects that has no starts or ends. Matter in some form has always existed and matter has always been in motion. Universe or galaxy may have a point of beginning, but not what it is composed of.

{3}At a point in time there was no matter, then at another point of time there was matter. The matter move in motion to develop things as we know it.

David Hume does not discuss the concept that simply nothing really exists. I would guess in an earlier work he had dismissed it in some form. It is my conclusion Mr. Hume found point one as absurd as point 2 or 3.

The other major focus of discussion in this work how an all knowing creator, who has all power, and has the capacity to perceive every thing that is going on can create a world that has the highest being of creation suffer pain and evil among each other. The argument is made in this work that the universe does not function in a rational manner, therefore such all knowing, all powerful and all powerful God does not seem to exist. Some reviewers consider it a complete debunk of intelligent design and it certainly a source of comfort for those who do desire.

With the possible exception of his incalculably influential A Treatise of Human Nature, this, I think, is Hume's finest work. The Dialogues is a paradigm of sustained philosophical argumentation on a single subject, and I can't think of a more inspiring work of philosophy. Another reason to read this book is that Hume is one of the few philosophical figures whose work is worth reading as literature. His prose is, of course, lovely and clear as can be; and the Dialogues is packed with the sort of evocative passages that readers of Hume except to find in his work. Furthermore, he's clearly mastered the dialogue format as a way of writing philosophy. He never turns his interlocutors into ciphers spouting the details of their respective positions. Each character has a forceful and distinct personality, and each of them comes to the debate with a well-defined position and adequate means of defending it. In short, I can't recommend this book highly enough.

Most of the Dialogues is devoted to discussion of a posteriori arguments for the existence of God. The main argument considered here is the classical argument from design, which Hume seems to understand as an analogical argument of the following sort: the complexity and order of the universe show that it is similar to artifacts created by human intelligences; similar causes have similar effects; therefore, the universe must have been created by a being with something like a human intelligence; therefore, the universe must have been created by God.

Hume's objections to this argument are legion, and many of the individual objections are both ingenious and forceful. He provides reasons for thinking that the universe isn't all that similar to artifacts created by human beings. He argues, for instance, that at least in some respects, the universe resembles animal or vegetable life more than it resembles artifacts created by human beings. Hume also provides for thinking that, even if we think the universe is similar to a human artifact, we ought to think the universe was created by a being quite unlike God. The relevant empirical evidence, he argues, provides us with no good reason to think that the universe wasn't created by multiple beings (large human artifacts are usually created by multiple beings), or that the being(s) who created it are still alive (human creators die), or that the being(s) who created it were infinite (it's not clear that creating the finite universe would have required infinite power), or that the being(s) who created it were morally perfect (the universe, with all its misery and despair, certainly isn't what one would expect from a perfect being). Furthermore, he proposes certain alternative naturalistic explanations of the existence and nature of the universe; and he claims that it's unclear why an appeal to divine creation is to be preferred to these speculative naturalistic stories of the universe's creation.

As I hope this all-too-brief synopsis suggests, Hume's cumulative case against the argument from design is quite impressive. It is, of course, possible to avoid some of these criticisms in various ways, and his speculative naturalistic explanations leave quite a bit to be desired. But the total case is a philosophical demolition par excellence. Indeed, I'm pretty sure that Hume has shown that the argument from design is more or less worthless as support for anything resembling traditional theism. So, if you're enamored of that argument, I suggest you pick up book and wrestle with the criticisms found here.

Now, this isn't all Hume discusses in the Dialogues. There's a section discussing a priori arguments for the existence of God; it focuses on arguments against a version of the cosmological (i.e. first cause) argument. And Hume's arguments concerning the cosmological argument also rule out any sort of ontological argument, as he claims that no sense can be made of the idea of a necessarily existing being. The book also includes a few some brief discussion of particular issues concerning religion.

Where, in the end, does Hume come down on the issue of theism? It's hard to tell, as it's not clear that any of the particular characters speaks for him. Philo, the character who often appears to be speaking for him, never denies the existence of a deity; he simply denies the ability of human reason to discover anything substantial about what such a being is like. That Hume agrees with this is, I think, the most we can glean from this text about Hume's own religious views. It seems clear that he has no sympathy for organized religion, or for any religious views that purport to describe the nature of God, His intentions, or how and why He created the universe as He did. And the only positive religious claim that is given respectful treatment here is the bare claim that we have reason to think that the cause of the universe as a whole is somewhat similar to a human intelligence.

But does acceptance of this minimal thesis amount to his being a theist? Again, it's very hard to tell. First, of course, one might wonder whether this fairly vague positive view is enough to amount to some form of theism. But let's put that issue to one side. Even if it is enough to support some form of theism, it's often difficult to tell whether Hume means to be advocating such a position here. The problem is that it often seems Hume's explicit advocation of this position amounts to little more than a description of what he thinks is an inevitable human tendency to think this way. Given how our minds actually work, he seems to think, we're bound to think something like this about the origin of the universe. Yet it's somewhat unclear that he thinks forming beliefs in this way is reliable. It may simply be that we have a brute instinct to think in a way that insures we'll see the world as resulting from some human-like intelligence, and it's at least not clear that that isn't a debunking account of the plausibility of theism. (For more support that this is a debunking explanation, see his The Natural History of Religion, where the explanations of various religious beliefs certainly seem to be one's that suggest those beliefs simply aren't plausible.)

David Hume made a reputation by writing on reason and its limits. The main thrust of the Dialogues Concerning Natural Religion is to question whether theological arguments for God that assign Him positive attributes (omniscient, omnipotent, omnibenevolent, etc.) go beyond reason's limits in assigning these attributes. We watch Cleanthes (believer in theological arguments), Demea (believer more on faith) and Philo (disbeliever in theology's efficacy) hash out whether reason and experience alone give us reason to say anything whatever about God.

Hume explores all of the major arguments for God's existence. First, the a posteriori argument is explored; the argument that just as seeing a house gives us reason to assume an architect and builder, seeing the world should give us reason to infer a designer. Hume (through the skeptical voice of Philo) sees much wrong with this argument. Why? Because the reason we infer a builder for a house is because experience has shown us that houses have builders, thus when we see a house, we assume that, like other houses we've seen, this one too has a builder. But experience does not tell us that where there is a world, there is a designer. The leap is extra-experiential. Further, even if we DID infer a designer, why infer just one? Houses have construction crews of multiple people; if we analogize between the house and the world, then why not infer that the world, too, might have infinite creators? (And why infer that the world's creator is omnipotent, if all that is needed to create something is to be more powerful than the thing created - no more, no less?)

Next, we go through the a priori argument - the argument from first cause. Hume (Philo) is quick to point out the obvious flaw with this. If everything needs a cause, then what caused God? If God is said to be eternally existing, then why couldn't the natural world - rather than God - be thought eternal instead? And further, why is a infinite chain of causes and effects so unimaginable, anyhow? (Isn't it just as sensical as an eternal God itself not caused?)

Lastly, Philo brings up the argument from evil. In a nutshell, Philo suggests that while theology sees all the perfections of the world, proclaiming them clear evidence of remarkable design, theologians dismiss or downplay the imperfections. If God is said to all-good Himself, then why did he create humans with such flaws? (one assumes that an all-powerful, all-good God could have avoided those errors).

Still, the main thrust of this book is that Philo, far from challenging whether God exists, challenges theologies capacity to assign ANY characteristics to God by reason and experience alone. Hume does a good job not only in outlaying arguments as to why reason is not capable of knowing a thing about God, but also in making believable dialogues (compared to Plato, whose characters are all made to be one-dimensional foils for "Socrates.") As in so many other areas, Hume was a pioneer in the realm of the philosophy of God. This book furnishes strong proof of that!

David Hume, a philosopher of the period often classified as British Empiricism, is the intellectual associate of philosophers John Locke and George Berkeley. Born in Edinburgh in 1711, he attended the University of Edinburgh but did not graduate. He went to France during his 20s, and spent time there working on what would become his most famous work, 'An Enquiry into Human Understanding', first published under the title 'Treatise of Human Nature'. However, Hume was a prolific writer, and dealt with many areas of philosophy, including politics and ethics, epistemology, and metaphysics. He wrote in the area of history as well, and had a politic career as British ambassador to France and a post as a minister in the government for a few years. His final work, 'Dialogues Concerning Natural Religion', was published posthumously in 1779, although work had begun on it as early as the 1750s.

Hume was very concerned about rationality. Hume was never publicly and explicitly an atheist, but his rational mind, concerned about sensory and intelligible evidence, led him to question and doubt most major systems of religion, including the more general philosophical sense of religion and proofs of the existence of God. The primary arguments in his 'Dialogues Concerning Natural Religion' deal with the Argument from Design, and the Cosmological Argument. There is an assumed distinction here between natural religion and revealed religion, an especially important distinction in the Enlightenment and post-Enlightenment philosophical structure.

- Natural Religion and Revealed Religion -
Natural religion is the idea that we come to know and understand God (and, consequently, what God wants or expects of us, if anything) simply from nature and our sensory perceptions, as well as our interpretations (emotion and rational) of this kind of understanding. From very early in his writing career, Hume attacked the idea of natural religion and most of its conclusions, drawing a sharp line between what we can actually know and what ends up being fanciful extrapolations based on other-than-rational ideas and evidence. Revealed religion is primary what most religions base themselves upon - the burning bush to Moses, the resurrection and post-resurrection appearances to the Apostles, the Buddha's enlightenment under the tree - these are examples of revelation. While Hume does take on the idea of revealed religion in his other works, this particular text does not concern itself with that topic, and stays in the domain of addressing natural religion.

- The Argument from Design -
Arguments from Design have always had a strong appeal to believers within religious frameworks; they have often been used as tools of evangelism, as attempts to show that beyond the revealed doctrines, the very nature of things points to a creator. In very short order, the Argument from Design in Hume's newly-industrial time might have read like this:

- Machines are designed by beings with intelligence.
- The world and the universe it is in resembles a machine.
- Therefore, the world must have been created by means of intelligent design.

This is an argument by analogy, and is convincing to some, but often more convincing to those already inclined to believe in the existence of God.

- The Cosmological Argument -
The Cosmological Argument is at once both more subtle and more simple. The most simple way of stating it would be that God is the 'first cause' of everything. If everything has to have a cause (even the whole universe), then that first cause must be God. In the twentieth century era of thinking of a universe that began with a Big Bang, it seemed to some that the Cosmological Argument was confirmed.

Hume would have been familiar with Leibniz's more subtle form of the Cosmological Argument, which argues for a world of infinite contingent causes. However, there has to be something outside of this system of infinite causes that produced the series - thus, even in a universe with no set beginning or ending, there would still need to be an overarching cause.

- Hume's Arguments -
Hume argues on many levels. His first criticism of the Argument from Design is that this analogy (as are most arguments from analogy) is faulty and not exact; we have no idea if the universe is like a machine. Even if it was, machines are often designed and built by several designers - why argue for one God rather than several? How do we know that matter and the universe don't have their own, internal self-organising principles?

With regard to the Cosmological Argument, the argument is a little more strained. Hume argues that, in any series of causality, once one knows about each cause, it makes no sense to inquire beyond the sequence of causes to some other effect. This is a very Empirical argument, to be sure, and while perhaps not entirely satisfying, it still has merit in philosophy to this day.

- Hume's Structure -
This is a dialogue, set up in the classical way of people talking with each other about the subjects. Hume draws primarily from Cicero, whose work 'On the Nature of the Gods' uses characters of the same names. However, whereas Cicero was concerned about the nature of the Gods (their attributes, powers, etc.) and not their existence, it is the very existence of God that occupies Hume's thoughts.

Hume, despite many years of work on this text, probably never quite thought it was finished. He left the work to Adam Smith (the noted economist, and friend of Hume in Edinburgh), who also thought the arguments against the existence of God were too strong, and likely too damaging to Hume's overall reputation. The tug-of-war over the publication makes for interesting reading in and of itself.

These are important arguments, worthy of discussion and dialogue in philosophy classes, theology classes, and among others who ponder the existence of God.

This short and artfully written book was published after Hume's death. Hume did not wish to experience the controversy engendered by the arguments advanced in the book. It is likely as well that Hume was concerned also with offending some of the moderate Presbyterian clergy who were his personal friends and had been his partisans in other controversies. This book is primarily an attack on the idea that the exercise of reason and logic provides support for religion, and particularly that application of reason leads to strong evidence for the existence of a beneficient God. This line of thought had become particularly popular among liberal theologians in the first half of the 18th century and was a widely held notion among Enlightenment intellectuals across Europe and North America. This idea is still widely held today and can be seen in the writings of the so-called 'intelligent design' advocates of creationism. Hume's criticisms, then, are not only of historic interest but continue to have relevance to our contemporary lives.

The Dialogues are constructed as a 3 cornered argument between three friends. Demea, a man upholding revealed religion against the idea that reason provides support for the existence of God. Cleanthes, an advocate of natural religion. Philo, a skeptical reasoner who attacks the positions held by Demea and Cleanthes. For those who like Hume's sprightly 18th century style, this is a fun book to read. Hume artfully divides some of his strongest arguments between Cleanthes and Philo, and gives the Dialogues the real sense of a dispute among 3 intelligent friends. Philo is generally taken to represent Hume's positions but Cleanthes articulates some strong arguments and provides some of the best criticisms of Demea's fideism. Much of the book is devoted to attacking the argument from design, which Cleanthes attempts to defend against assaults from Philo and Demea. In many ways, the argument from design is the major idea of those supporting the natural religion approach to existence of God. Hume's critique is thorough and powerful. It even includes an anticipation of Darwin's idea's of selection, though the basis for Hume's critique is primarily epistemological. In the later parts of the book, Hume attacks also the comsological argument for the existence of God, though this discussion is relatively brief and a bit confusing. Hume's analysis is consistent broadly with much of his philosophical work. In many ways, his great theme was the limitations of reason, and this book is an example of his preoccupation with the relatively limited role of reason in establishing certain facts about the universe. He finishes with short criticisms of the idea that religion is needed for a stable and well ordered society and defends the usefullness of skeptical reasoning.

It is important to view the Dialogues as part of a critique of religion that Hume sustained in several works. His Natural History of Religion, the On Miracles section of the Enquiry Concerning Human Understacing, and other essays comprise a broad criticism of religion. Other pillars of religion, such as the existence of miracles and revelation, are criticized in his other work. While Hume denied being an atheist and was apparently disturbed by the dogmatic atheism of French philosophes he met in Paris, he was certainly not religous in any conventional sense.

This is a short and very readable book but the power of its arguments are totally out of proportion to its length.

I liked this book. It seemed to be written for an audience of older timer marketing professionals who have not taken the plunge into the Internet world. The target audience seems to have followed the rule "If it ain't broke, then don't fix it," and they followed that rule too long and now they are not very effective marketers. Such people will get a lot from this book if they intend to continue working as a marketing professional. It covers Internet Marketing, and how to get comfortable doing it.

The book is comprised of just 9 chapters:

1. They're doing wonderful things with computers
2. New wine in old bottles
3. Marketing is a conversation
4. Going over to the dark side
5. The new customer relations
6. Customers vote with their mice
7. This doesn't work for me
8. This doesn't work where I work
9. This stuff changes too fast

It is well organized and well written. And it was very easy to read. My first pass on it involved reading the summary of Section 1 which lead me directly to the chapter summaries for chapters 1 to 3. Then I read the summary for Section 2, which lead me directly to the chapter summaries for chapters 4 to 6. Lastly I read the summary for Section 3, which lead me directly to the chapter summaries for chapters 7 to 9. It all made perfect sense. And in no time I was done with the book.

What these old time marketers who read this book will learn is that marketing is not totally new in our Internet Age. Instead, the Internet just offers new twists on old marketing approaches. Marketing used to be done through passive mediums. But the Internet with Web sites and email have made it possible to do marketing as a give and take process. Marketing is now about building relationships with customers rather than simply winning customers.

As the author says in the book: Marketing is now a conversation, and feedback from your customers helps you adjust what you do every day.

Sometimes what you will do will not be well received or produce good results. These are instances that the title of the book is referring to (Do It Wrong Quickly). As long as you adjust your tactics quickly, nobody is going to hold you liable for not doing it right the first time. We all make mistakes. And we all hopefully learn from our mistakes. The point of the book is that companies that perform Internet Marketing in order to build good relationships with their customers will come out ahead in the competitive world of business. 4 stars!

A direct hit on how the web is revolutionizing marketing!

More importantly, "Do It Wrong Quickly" is packed full of advice and tips for small businesses to leverage the Internet to take the lead in their marketplace, even against the titans!

What makes this book such a great reading experience is the fact that Mike Moran has left no one out. We all come to this new arena of web marketing with a sense of uncertainty. This book allows you to preview the most promising networking solutions available on the web today, and encourages you to get out there and find (or invent!) some of your own.

Do It Wrong Quickly is a very entertaining read that is thick with relevant information. Ignore it at your own peril.

This is an excellent book that is worth taking the time to finish. Mike breaks down complex information into tips that readers can use immediately. Plus, his humor and comedic timing make reading the book a fun learning experience. Adult learners who need an introduction into the value of Web marketing will find this book useful.

Mike Moran's second book, "Do It Wrong Quickly", has something for every reader. The seasoned marketer will no doubt garner at least a few new ideas (though probably more than a few) to try, whether in innovative ways to start the conversation with customers, or in how to effectively listen to the customer in the Web Age. A novice to the field will quickly realize the growing importance of the internet marketing field and some of the fundamental changes that are a result of all companies, big or small, risking their reputations in the public forum.

You even get to delve into numbers a bit, with the discussion of web metrics and how looking at the factors involved in running your website can dramatically increase your number of conversions. To go along with the prospect of learning something you didn't know, there is the added benefit of Mike's friendly and funny writing style. He also provides useful and interesting examples, sprinkled in just enough to always keep the material fresh and entertaining. I highly recommend this book to everyone seeking to learn more about internet marketing, or even just to learn more about how the Web has changed the way we do (successful) business today.

I thought the book was a very informative and practical account as well as very well produced and edited.

Thanks!

This is where I started when I began exploring of building my house underground. What bothers me is so much cement. I like Mike Oehler better. Check him out too and decide for yourself.

This is the so called "holy book" for building an earth sheltered home. Definitely should have started 20 years ago but it is needed for today's building needs. Energy efficient - low cost ( pretty labor intensive ) Awesome to build. Have a five year plan.

An excellent reference for those who are interested in Earth Bermed and Earth Sheltered houses. His attention to detail in the excavation and foundation chapters is worth the price of the book alone. Especially when there is a lack of in depth internet resources available for those wishing to build their own earth sheltered house. Although this book deserves the 5 stars for fulfilling its basic promise, I wish he had devoted some time to discussing plumbing for a simple structure. But overall, he gives this reader 90% of the information necessary to start a small sized earth bermed house.

If you are looking to have an earth roof, you will need to purchase his other book "Timber Framing" where he goes into rich detail the structural engineering requirements of load and tension and compression. With these 2 books, you should be able to complete rough plans for a structural engineer to review and stamp with little or none modifications.

Also, for those searching for energy efficient stoves, I recommend aprovecho.org's institutional rocket stove or Ianto Evans Rocket Stove which are both 300% more efficient than traditional wood stoves.

On a conclusionary note. I priced out timber framing members for the roof section of a square 30'x30' roof and it came out to over $9000 in timber alone ( not including the tongue & groove planking). Compare that to a traditional 8/12 pitch roof somewhere in the $3000 price range for rafters, ridge, and plywood. Put a metal roof on that and you should be good for over 30 years atleast. Sure the earth roof is better for the ecosystem and eye but a regular roof allows placement of rainwater collection, solartubes and solar heaters/panels as well. For the cost conscious, I have come to the conclusion that a traditional roof that is superinsulated along with the earth berming techniques in this book will allow people to have their own energy efficient house for less than they think.

This is a great book! If you really wanted to build your own earth-sheltered home you could certainly do it using the information presented here (though a wiser course would be to pick up more sources). Thanks to this book and "The New Ecological Home", building our own home with environmentally conscious materials and possibly earth bermed or sheltered is high on our list of priorities. There is only one complaint I have about many books of this variety. They tend to cover difficulties with things like building code and location very lightly.

Building code and location are going to be huge factors in building an earth sheltered structure, especially one made with fewer traditional modern building materials. Difficulties with local regulations or inflexible inspectors/building comissions may prevent you from being able to build in the area you want. This may drive an individual to build in locations further away from urban centers where they might work. Commuting is no fun; and if you wanted to look at it from an environmental standpoint commuting a greater distance to work, grocery market or schools has just raised your carbon footprint and negated some of the savings your earth sheltered home has created.

I would highly recommend that individuals check local code thoroughly and choose a location suitable to their daily needs such as work or other social necessities before building. One need not build out of logs and plaster to have an earth sheltered home, though I understand that the point of this book is to have an affordable home and avoiding expensive modern materials. Take a bigger picture of what you are trying to accomplish; if you are purchasing this book it is somewhat safe to assume you are concerned about the environment. Please also consider materials used. Rob Roy's excellent use of modern materials such as rubber membranes and concrete block are high in initial cost to produce, environmentally speaking, but last longer and provide more benefit to long term savings such as insulative qualities and maintenance costs than lesser materials might. A lot of other earth-sheltered builders advocate natural materials to a fault, they have people using composting toilets and straw-bale homes. While effective in an environmental sense, they are not attractive to the average person. Rob Roy's book moves in a positive direction by using modern materials with environmentally conscious construction to create a home that just about anybody would like to live in.

I purchased this book about a week ago after seeing it at a bookstore and seeing all of the excellent reviews for it. I have been studying art for a few years and having worked at a bookstore as well I know when I read a good art instruction book and this is definitely one of them. It has practical to do steps that gradually build a persons skill. A common pitfall of art books is they show a finished product of the artist but they leave it a mystery as to how they got there. This book will help seasoned artist as well as give newer ones confidence in their ability to do caricatures. Highly recommended!

I have several books on caricature and have to say this is the best. The funny thing is that some of the pages looked kind of familiar and I realized that they were some of the handouts used at the local amusement park. After looking at Harry's picture at the end, I do remember him holding some excellent training classes at the park. He has an excellent way of explaining the whole process. This is an excellent book on the subject.

Very good explaniation and a lot of figures for practice.
I like so much.

Face Off is an excellent step by step guide to analyzing a face and creating great caricatures. I've been an artist for more than 20 years and was always amused by caricatures, but never developed a knack for creating them . . . until I got this book. After only 6 weeks of following the step by step guidelines I've developed my own style and I'm creating hilarious pictures of my friends and family. I highly recommend this book to both beginning artists and more experienced professionals looking to branch into caricatures.

"Face Off" is one of the better books on basic caricaturing, in part because of its modern, graphic-heavy approach. Also, in my opinion, this work is more up to date than most other books on the subject, even explaining how to color your drawings in PhotoShop without screwing up the original artwork.

This book covers a lot of ground, although out of necessity it isn't always what you would call "in-depth" in its information. For a broader understanding of caricaturing, I would suggest that you get this book along with another more detailed work such as Len Redmann's How To Draw Caricatures and/or Let's Toon Caricatures by Keelan Parham. I have found all of these books to be extremely helpful, especially when taken together.

Overall, this is a fun and informative book.

A fascinating look at the birth and eventual fall of the Group Theatre through the eyes of Harold Clurman, who was the heart and soul of this theatre troupe. The Group Theatre would eventually change the course of American acting through their embrace of the Stanislavsky method of acting. Anyone with a love of theatre and it's rich history would love this book. Any actor should read it. The names that came out of the Group Theatre are like the 'Gods' of American acting and teaching "the Method". Stella Adler, Bobby Lewis, Stanford Meisner, Lee Strasberg, Clifford Odets.

As an actor this book filled me with a rediscovery of why my work matters and it inspired me to continue in an industry where success is so dificult. Though I am not a method actor i respect the accomplishments of the group theatre immensely and to hear harold clurman tell it is to hear it thorugh the glue of it all. Read this if you love theatre.

What a wonderful book. I've always loved reading history and books of all topics and times of history dominate my shelf. However there is a void that is now apparent of books of the theatre and of the artists working within it. This has been a wonderful introduction to how much can really be said about the formation of a theatre and the ups and downs of its life.

Certainly anyone aspiring to be an actor or anyone in the business looking to see what finding the art in your work is all about, this is a must read. Clurman has an amazing memory, vividly retells all that took place during those turbulent years, and does so with a powerful, strong refreshingly opinionated point of view.

All in all, really a wonderful book in both story telling and lessons that I would love to revisit soon.

The Group Theatre, modeled off of the equally influencial Moscow Art Theatre, was an artistic organization that completely and drastically revolutionized not only American Theatre, but World Theatre as well.

Formed in the 1930's and comprised of what has become a literal who's who of Theatre: Clifford Odets, Elia Kazan, Harold Clurman, Robert Lewis, Stella Adler, Lee Strasberg, Cheryl Crawford, John Garfield, Sanford Meisner and many others, The Group Theatre sought to create a vibrant and organic native theatre that sought to not only mirror the times but also instigate radical social change.

At no other time in American history has an artistic group been comprised of so many talented individuals focused on one aesthetic and political goal. Despite one's political leanings (make no mistake, The Group Theatre were extreme leftest liberals), The Fervent Years provides and endless and bountiful amount of inspiration and stimulation for any theatre artist.

Clurman writes in a fine dramatic style that boils with passion, wit and insight. The Fervent Years is required reading for all devotees of The Theatre. But don't let that scare you, it is a most entertaining read at the same time.

This book is a beautiful account of the struggles and events surrounding Harold Clurman during his time with the Group Theater. Harold starts off by revealing how his life brought him to establish the Group along with Lee Strasberg and Cheryl Crawford. It then continues and describes the significant struggles and events encountered by the Group and its members along with some beautiful and extremely important observations Harold made, not only regarding the theater community and its participants, but also about our society in general and its effect on art in general.

This book is an absolute must for any serious actor or director. For that matter, anyone serious about life would gain from reading this book. The Group Theater was a wonderful "experiment" fostered by some very passionate people who not only helped to shape theater in America, but they also played a significant role in laying the groundwork from which some of the best acting and directing has emerged as seen in films and theater since that time.

I stand in disbelief when folks in the "business" don't know about Harold Clurman or the Group Theater and it members.

This book is a refreshing antidote to the sea of mediocrity being built all around us. It fuses classical design principles, so long lost by architects and the building industry, with practical applications to everyday home design and construction. It's easy to understand by layman and architects alike and is a fundamental primer to building your new home.

I've purchased additional copies and sent them to friends about to build their new homes to share with their architects. It has become one of my book shelf treasures.

This may be the best handbook on traditional design published since the 1920s, informative for both layman and professional alike.

If you wonder what makes today's so-called "traditional" houses look so ugly, Marianne Cusato provides answers in a guidebook that walks you through "how things go wrong" (avoid) and "how to do it right" (use). In meticulously-drawn illustrations, she charts the course of design from first concepts to fine details, providing pearls of wisdom on things that can make or break the authenticity of a new old house. Notations accompany each drawing, describing essential building elements and how they go together.

Never before have I seen a more comprehensive or practical guide through the minefield of traditional design. Clear, insightful directions make "Get Your House Right" the perfect learning tool for builders at all levels, whether novices or those needing a refresher course. This book should become the primary text to teach architects the fundamental building blocks of the classical tradition.

I found the details extrememly helpful. She does a very good job of discussing the details of architectural elements. This is the first book I have found that walked me through the application of classical design in the design of a building. Although this focuses on classical design and how it relates to residential design, I can see how these techniques could be applied to any building. There are two areas that I wish the author had covered. First was the idea of regulating lines. She mentions them but does not go into any depth about how they can be used to keep a design in scale. Second, I wish the author had gone into more detail on scaling the mass of a house. For example, how should the height of the roof relate to the mass of the house. Another variation on this would be how the height of the walls should relate to the length of the walls. I understand that the golden section can be used, but I sense that there is a lot more material that could explain this in better detail.

I live in Naperville, IL, the McMansion capital of the Midwest. I have watched new multi-million dollar houses go up, and I thought most of them were just plain ugly. Over-done, or pompous, or something. Yet they sell, even now, and they keep going up.

I started to think maybe it was just me.

Then I picked up this book, and there, just above the AVOID label that adorns many of the design examples in the book, was a pencil sketch of what could be a typical new-construction Naperville street.

Having read the book through -- and several parts twice -- I now understand what it was that was causing the rejection of this architecture by my inner voice: bad design. I have nailed down the specific elements in many actual houses that hurt the appearance of the house, that make it less -- much less -- than it could be.

And -- surprise! -- I found that the few houses I did like of the newer construction were properly designed to classical principles.

The book is an incredible achievement. Well-written, accessible, and with hundreds and hundreds of beautiful pencil sketches that clearly demonstrate the principles. Marianne Cusato is a young, brilliant and well-educated designer whose vision has been shaking the architecture world for several years. And she's all of 33 years old!

So get this book, read it through, and then have some fun. Start scanning front elevation drawings on house plan sites and see if you can spot the issues that keep each from being as welcoming, as home-y, as they could be.

We are embarking now on designing our own new home, and this book is by far the most important acquisition in our burgeoning design library.

Thanks, Marianne. We all owe you.

I have struggled for years with design issues in the buildings I renovate and (sometimes) modify. It is the "just doesn't look right" syndrome where you spend money and time on what you think is a good idea, but when it's done you can tell it looks goofy, or backwards, or convoluted or something.

Well this book is exactly addressed to people like me - indoctrinating the reader to the (seemingly) rigid rules of traditional architecture that have evolved over the centuries since we emerged from caves. It's like getting an abbreviated overview of the lessons learned by earlier generations of builders, condensed into a readable book. Probably the most notable lesson I gleaned from it is the importance of details on the overall look and feel of a building.

I know I'm not going to necessarily follow every rule on every decision I make - economics play an important role too - but at least now I have a little better understanding of where I can cut corners, and where spending a little more on the right details will be crucial. It's like having the wisdom of the ages at your back when making design decisions.

One thing that attracts me to traditional architecture is that it comes from times where buildings were much more monumental accomplishments than they are today. With our concrete and steel, equipment and technological advances, buildings go up in a matter of days rather than years, and will be replaced just as quickly if we decide we don't like them. Sometimes the way they look reflects this lack of thought necessary for their contstruction.

If you follow the guidance provided by this book, you building will at least look like an accomplishment worth celebrating.