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Levin seems to fall just slightly against the "market" ideas for education, but by exploring the evidence in a domestic and international context we learn the ways in which our ideas are uniquely American and driven by an American ideology that really is not based upon education per se, but an all-pervasive notion of economy.

This book reviews the evidence about so-called "choice" models of education or "free market" models and their impact on education. In the end the evidence shows nothing, but it doesn't refute anything either. What Levin shows us pretty convincingly is that, at the moment anyway, this is a debate driven by ideology rather than by evidence. No matter on which side one falls, one can interpret the evidence based upon their perspective, since the evidence is inconclusive. Like so many other debates in our society we have to move beyond the "classroom effects" and investigate what the proponents or opponents really have as their agenda. This is an excellent book simply because it is one of the first systemic reviews of the evidence as opposed to the ideological journalism with which we are most often confronted. No matter one's perspective, this book is worth reading, because it will alternately challenge and support one's views.

Edmund Husserl was the leading comedic writer of his time... This book is a strong example of his work and sheds new light on the relationship with his moronic sidekick, Martin Heidegger.

In the clash with Heidegger, Husserl's phenomenology came into close contact with a devisive bug named "intersubjectivity". After dealing with the differences inherent in their two positions, Husserl decided that the only way to remedy the situation, and therefore phenomenology, was to begin work on the phenomenological analytic of ethics, or how to found the possibility of an ethics (this comes thorugh in the Amsterdam lectures).

To the book's credit, it demonstrates clearly that where Heidegger lived a sum ergo cogito, Husserl rather thought the cogito ergo sum, all the way through to its "liminal" zone, the border. This began the confrontation, and would also soon end it. Thus some of the decisive problems addressed in this Encyclopedia Brittanica book with regards to phenomenology are: history, the subject, time, the other, the possibility of phenomenology with respect to the position on time, etc. Derrida would indeed, as another reviewer has unwittingly pointed out, characterize some of these problems as the break between "the laugh" and the laser-fine gaze of reason. That is, if time is a problem for phenomenology in Husserl's sense, one must laugh at the possibility of phenomenology. If it is rather a problem in Heidegger's sense, then one must phenomenologically laugh (see "An Intro to Husserl's 'Origin of Geometry'")...Well worth the money either way.

My son loves these books! They make him laugh. I have purchased all of the Ready Freddy Books published so far and will continue to do so. He is 8 years old and they seem like the reading level is made for children his age.

My son LOVES Ready Freddy! He has read most of his books more than once and just loves the characters and the illustrations throughout! Keep them coming!

I was on Facebook. I was on LinkedIn. Why did I need this book? Then I heard about Twitter. And Social Bookmarking. And Digg. And a multitude of other social media sites I hadn't heard of before.

"Social Marketing Success" walked me through where I needed to be marketing online, why, and how. All step-by-step so I wouldn't have to figure it out myself or go searching for instructions elsewhere. Looking back over the past 4 months, I can't believe how much I didn't know before I read this ebook! It lead me down all the right paths and fit easily into my busy daily schedule. And nearly every week the author forwards new tips, sites and tools to check out. It's been worth every penny and then some!

As an author and business owner, I needed to find ways to boost my book and my business without spending a lot of time trying strategies that don't work.

Social Marketing Success in under 30 minutes a day was the perfect course for my busy life. Quick and helpful tips delivered to my inbox every day for 30 days made climbing the social marketing ladder easy! The bonus tips added at the end of each daily lesson were the cherry on top.

Karen Reddick, author of Grammar Done Right!

This book explains Mr. Bearden's electromagnetic theories based on Tesla's research and work. It's pretty much straight-forward to follow with minimal mathmatical skills. If you are researching into Tesla's work GET THIS! Even if you are conservative to the point of disregarding Mr. Bearden's EM theory, get it for the copies of magazine articles and newspapers of the time. It's very worth it!

THIS BOOK BY MR. BEARDEN IS AN EXCELLENT SOURCE OF TECHNICAL MATERIAL ON TESLA'S SECRET RESEARCH THAT IS NOT FOUND IN ANY OTHER ACCESSIBLE KNOWN SOURCE. THE MATERIAL USES SOME ELECTROMAGNETIC THEORY BUT SHOULD BE EASY TO FOLLOW IF YOU HAVE HAD AN ELECTRICAL ENGINEERING COURSE OR TWO. HOWEVER, EVEN THIS SHOULD NOT PREVENT THE GENERAL READER FROM ENJOYING THE NONTECHNICAL MATERIAL CONCERNING TESLA. IT EVEN HAS SOME OLD NEWSPRINT AND MAGAZINE ARTICLES ON TESLA'S VARIOUS INVENTION ANNOUNCEMENTS

This a compelling (& still relevant) grouping of criticism, performance history & discussion of compositional choices. The focus on integrating aesthetic production with (some might say subordinating to) active political commitment to social progress is something of an antedote to the melancholic or hibernating sensibility that seems to have haunted & paralyzed much of the avant-garde over the past quarter century. The writing is clear, empassioned and, like the music Cardew et al argue for, concerned with serving its audience - the working class. The almost economistic Marxism is refreshingly very anti-pomo (e.g. the authors see a very clear correspondence between cultural products and the class positions they reveal). Still, what i find most useful about this book is its very provisional, dialectical and self-critical honesty as we are allowed a glimpse of what it is to be a committed artist engaged in active social change. Don't take my word for it; the entire book is available for free download at ubuweb.

While returning home late on a cold night in December 1981, composer Cornelius Cardew was struck by a hit-n-run driver. The situation surrounding his death is indeed opaque, that he may have been murdered by the extreme right-wing working in London. Cardew led a dangerous life, as an activist Marxist. He was arrested for his activities in Camberwell and for a time was homeless,living in a train station in the north of London. The last year of his life he was learning various Asian languages, Pakistani,and Indian to work within those communities against a growing racism,where firebombings of homes was becoming a frequent occurence. He also had an innate gift for organizing rallies and demonstrations against the Right-Wing, and that may have been the cause of his demise. Still he was loved and admired by countless musicians,artists and activists. There were numerous memorial concerts after his death in London,Rome,New York,Toyko, Australia and Chicago, as well as specific pieces written for him in remembrance by Skempton,Curran,Lombardi. This work"Stockhausen serves Imperilaism" was like a cup of hot black coffee for sobering the musical avant-garde when it was written in the early Seventies and it is a shame it is now out-of-print. There is an Italian translation, although next to impossible to obtain.Although Cardew's demeanor, the tenor of his language was a bit extreme, against the avant-garde he once loved and became an important integral part of in England,he believed in the path he had chosen. And here he gives along with Rod Ely and John Tilbury a brief history of The Scratch Orchestra, an odd mixtures of professional and non-professional musicians,conceptual artists,composers from all walks of life. One Scratch credo was"to create music for those who need it". And they frequently did this playing Beethoven Symphonies with whatever means available, piano,two saxophones,one cello, one trumpet and accordeon. Morton Feldman once said of Cardew, that any advancements,any progressive strains for music in England will only come about because of Cardew's efforts. So you might ask "why does Stockhausen serve imperialism?" and not Cage, nor Berio,nor Boulez. Well they all do, and it was Cardew's function here to make known the growing elitism that was becoming part of the avant-garde. To make known the role of the artist. Stockhausen was an consummate example for Cardew's diatribe, a careerist composer(Stockhausen) who expolited the market and musical genres freely obsconding with concepts from Cage,and Cardew and whatever was the current buzz as his hippy=like "Stimmung" where six vocalists sit in a circle intoning the names of lost Indian and Asian gods, or his excursions into graphic notation holdovers from Cage, and more importantly Cardew, his 193 page "Treatise" written in with impeccable craftsmanship of a means toward a structured improvisation. But Cardew's relavance in retrospect of close to 30 years, is he tried to question what the avant-garde was doing and attempted to create a bridge between the advancements of culture and aesthetics and a politics that craved freedom unpretenciously. He began to set Irish and Chinese revolutionary songs for the piano, and made music the central means of his activism. No one to date has really appraised Cardew's political work in culture from within this context, and no one has seriously dealt with the set of problematics of an engaged musical artist. All see him as an ungifted extremist,as critics John Rockwell, Norman Lebrecht,Adrian Jack,Robert Morgan,or Samuel Lipman. In contrast perhaps the current work on Brecht by Frederic Jameson or the writings of Paolo Freire are more vigorous beginningsin attempting to identify the conceptual categories envolved for an engaged political artist. But the New Left today has ceased having an affinity for activism as Cardew espoused, he is like an ancient preserve of an old lost time that few would care to remember or rethink. The opposite theoretical realm of this work would be Derrida's "Spectres of Marx" where activism it seems only exists in the performative realm of thought within the safe confines of the four corners of the page.

A brilliant review. All the moreso since I wrote it. My question persists: Do I get any morey from the sales of this article? I believe I should, especially considering I was unceremoniously fired from IIE so many years ago. Still sour about that, you ask? Why of course I am. Not because I liked the company - clearly, it sucked - but beacuse they fired me for being out sick too much. I mean, I almost died in the hospital, and yet all the editors cared about was the fact that I missed crucial deadlines. I just have a real issue with crass corporate fascism. So should you. Now get back to work, you corporate slave, and stop reading the bitter ruminations of an otherwise euphorically happy public school teacher!

I wrote this article, before I dropped my last name, Wimsatt. I used to work for the Institute of Industrial Engineers in their publications department.

What the hell is my article doing on Amazon, and do I get any money from the sales of the article?

These are questions that will probably never be answered.

Irene Dowd's ability to describe the anatomy of movement is incredible. She uses imagery that is beneficial to the true understanding of movement in the human form. This book is a must for anyone who teaches alternative mind-body exercise or dance technique, it will give you a new way of thinking. Students of dance will also benefit from the articles, by gaining insight into their own movement.

Like the Tao Te Jing, profound and sagely advice can sometimes be illuminated by small poetic vignettes, that require quiet consideration to expose their depths. This little book, which is a collection of articles about functional anatomy, or in Dowd's terms the anatomy of movement, is one of those rare works. If you sincerely attempt the exercises that Dowd prescribes, you will need to return to this book periodically, because they reveal themselves in layers and stages.

Functional Anatomy is Dowd's term for a set of body-alignment practices related to Alexander Technique, Feldenkrais method, or more anciently methods of meditative mindful movement and ecstatic dance. Unlike our western view that the mind commands the body, there is a complete interpenetration of mind and body. For those practitioners of activities founded on the mind-body unity, such as dance, physical sports or taiji, the experiences pointed to in this book are nothing short of profound and they are bliss to contemplate.

This book has two exceptional qualities which are revealed on the front cover. The title "Taking Root to Fly" is an example of the many pithy turns of phrase that make this book deep. The paradox that a dancer or martial artist who moves as if floating, derives this lightness from sinking into the ground caught in four short words. Brilliant!

Even better this book has fantastic artwork, typified by the image on the cover. This artwork is actually productive mental visualization. The deepest way to contemplate some of these articles uses the wordless image expressed in the artwork rather than analyzing the words.

Anyone delving into their own mind through the vehicle of the body could benefit immensely from this book. While it is out of print I would hope that it soon reappears, Amazon, please buy the rights and release it on Kindle!

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Whether you are a fan of Edgar Tolson's work or of woodcarving in general, this is an essential book to have if you are interested in folk art of the 20th century. The thorough research done on Edgar Tolson is fascinating and through his art and career the world of 20th century folk art is examined. From key folk art collectors to various museums and institutions, the 20th century folk art movement was created and sold to the buying public. By the time the "important" artists were established all of the "important" early work was already in the hands of a few collectors and the museums. It's no accident that Tolson's work ended up in a prestigious Whitney Biennial and his artwork sky-rocketed in price. The same with Howard Finster. By the time his work was presented as being important to the general public, a narrow group of collectors and critics had already hoarded the first few thousand of his numbered pieces which the critics then deemed as the most important of his career. And the story continues to this day with collectors / critics buying early key works, then recommending them to the general folk art buyers. This book is perhaps the best analysis of why and how a folk artist becomes "important" in the 20th century. It may or may not sour your view on 20th century folk art but is a great read either way. As with all art or decorative objects, if you just buy what you like and ignore the critics, you'll be happy. Who's to say 10, 20 or 50 years from now if anyone will even care about "20th century folk art."

Ms. Julia S. Ardey has put together an extraordinary work -- filled with stories and pictures of a poor Kentucky man who whittled stuff to which other folks took a liking. My grandfather Edgar Tolson will always remain an elusive character both in life and in death hard to explain and to understand. As all great artists he was not one dimensional. Ms. Ardey did a fine job of grasping enough bits and pieces of his life, through the eyes and hearts of those who knew him, to give a reasonable representation of who Edgar Tolson was and why he whittled. Ms. Ardey interviewed scores of people and personalities who all have their own opinion of Edgar Tolson the Man and Edgar Tolson the Woodcarver and the times in which he lived. Ms. Ardey managed a remarkable feat in compling those interviews into an a very good work. She included many pictures that give insight into an artisan and his art. Many pictures capture Edgar's soul in his eyes -- others show a family life of just real folks who just have a Daddy that whittles in the living room and lets the shavings fall to floor. As a granddaugther of Edgar Tolson, beloved Kentucky woodcarver, I am very pleased with the work Julia S. Ardery managed to put together on his life and extraordinary talent. With a family as large as he had I am sure that this book will be debated into generations, however, it is a real good starting point at which to kick off the debate of fact or fiction. The papaw I knew was a wonderful minister; he loved his God, knew his bible and had a passion for sharing the Biblical Truths of his God with others through his work. He managed to reach the very far corners of the earth with his renditions of Adam & Eve in Garden of Eden, Their Fall, and Noah's Ark among a few--how many ministers can stake that claim. He carved what was upon his heart to carve. He was discovered by others who marketed it to a world who craved his carvings and what they represented to them. I am so pleased that Ms. Ardery managed to compile so much ! of his life and work into this book. It makes for really good reading and gives the reader the opportunity to linger with story and photo's of Edgar Tolson and his artwork long enough to gain an understanding of why so many are so drawn to it, him and living upon this earth. Thank you Ms. Ardery for a job well done.