An avant-garde book of modern poetry. Some poems about moods and about thoughts about people. Published by Programmabilities.com

An excellent resource for teachers and students of yogasana, medical professionals, and bodywork practitioners, A Handbook for Yogasana Teachers presents novel aspects of physiology and neuroscience as they apply to the practice of yoga. If you have ever wondered why we do yogasana as we do, you will likely find the answers within these pages. Endorsements "A Handbook for Yogasana Teachers provides a lucid blending of Eastern and Western science that helps us understand the human body from both perspectives! It is a major contribution to both medicine and yoga." Rajvi Mehta, editor, Yoga Rahasya, Mumbai "This book is quite obviously the result of extensive thought and effort on the part of the author. It contains a wide range of information, blending present-day anatomy and physiology with knowledge of yoga from ancient texts." Dr. Shirley Telles, Swami Vivekananda Yoga Research Foundation, Bangalore "There is a paucity of books such as this handbook ... I liked the colorful descriptions and stories interspersed throughout." Lois Steinberg, teacher and therapist, Iyengar Yoga Institute of Champaign-Urbana "The book is unique in its mixture of scientific explanation and practical application ... As a practicing Iyengar teacher with no medical background, I have had little choice but to accept the words of B. K. S. and Geeta Iyengar in their description of the effects and benefits of poses ... I have had no reason to doubt them, but when teaching students with a Western mind, it helps to present them with a 'scientific reason' why." Renata Cardinal, certified Iyengar yoga teacher, Watchung Yoga Arts Center, New Jersey "Mel Robin's labor of love has combined his knowledge of modern anatomy and physiology and traditional yoga beliefs (mostly in the Iyengar tradition) together with personal opinion and analysis based on years of teaching and practice within this tradition. By painstakingly collecting this material together, he has done a great service to the yoga community, especially those with an interest in yoga therapy and the intersection between yoga and Western medicine." Dr. Ruth Gilmore, faculty, Yoga Therapy Centre, London "A Handbook for Yogasana Teachers is useful for yoga teachers and serious yoga students who wish to bridge their understanding of Western and Eastern concepts. It may help practitioners of other Eastern methods of healing find ways to explain what they are doing to Western students or clients. Western doctors who want to understand Eastern healing methods will find the book extremely beneficial." Jessie Thompson, director, the Yoga Loft of Bethlehem, Pennsylvania

Get Reel gives you tools to view the media in a completely new way that will create mental, physical, and spiritual health and happiness while you view. In a media-heavy world, you can be the producer of your life and learn how to view TV, movies, and the Internet consciously and stop being influenced by the hypnotic effects of their messages. You will become aware of the ways that viewing media causes hypnosis and how you can break any trance you may have absorbed, replacing it with your own ideas of how you want to live your life. Get Reel moves you from pursuing goals and ideas that you attempt to fulfill without satisfaction toward the ones that are truly your own. It provides the blueprint on how to: break any ineffective belief or hypnotic trance that you unconsciously absorbed from the media, your family, peers, or any outside influence; discover the conscious, effective, fulfilled person that you truly are, free of outside influence; learn conscious living skills that will enable you to view each opportunity in your life with full awareness, allowing you to make the best choices; continue to enjoy the entertaining, educational, and fun benefits of your favorite website, TV show, or movie; turn struggles into open pathways to your happiness and success with trance-breaking techniques; and have a great time in the process.

This book examines the benefits and uses of art therapy in the treatment of addiction and trauma, highlighting its effectiveness at revealing underlying causes and relapse triggers, as well as treating co-occurring conditions that impair learning and recovery. This book also focuses on art therapy for trauma within specific populations, including incarcerated individuals, military personnel and survivors of commercial sexual exploitation. Quinn discusses how art therapy is often carried out alongside combined approaches, such as CBT and DBT, and how it can help those with cognitive issues to learn through treatment. Furthermore, this book explores the benefits art therapy has for people with co-morbid conditions, such as dementia, emotional disorders and traumatic and acquired brain injuries. With co-authored chapters from leading researchers in art therapy, the book demonstrates how art therapy can help to uncover triggers, process trauma and find a means of self-expression whilst working towards a sustained recovery.

Refer to the schematic. Think of this as an overview (flyover). We are going to see what happens in the human brain at that point of connection between the artist and the observer using artwork as data. The artwork was done by me over several years (1980 at least > 42 years). I said in 2002 after I retired that I was going to do brain research: The Effects of Aging on Creativity and Expression. Let’s look at the Artist: We all have life’s experiences and they are different for each person. These experiences are taken into the brain by way of the senses: sight, hearing, taste, smell, and touch etc. These experiences are stored in the brain as memories/thoughts. Stimuli presented through the senses cause the mind to see similarities (pattern recognition) between the stimuli and the stored memories/thoughts to recall the memories/thoughts from the brain and with the mind/personality (lights up) acts out to produce an artwork. Another way of looking at this is that the mind is an expression of the brain and the personality is expressed by the mind. The person loves that, finds pleasure in that, has to have that, and acts out producing the artwork. He makes it happen. The artist has now produced an artwork. He found pleasure in the memory that caused the mind to recall that and expressed it through the personality. The brain/mind/personality complex are self-awareness. Acting out to produce a tangible creation is consciousness. It is an action outside of the self. The artwork can be a poem, painting or even a concept that an engineer designs to solve a problem. The artist has now produced an artwork. He found pleasure in the memory that caused the mind to recall that and expressed it through the personality. The Observer: An observer comes along and he loves that artwork (lights up), finds pleasure in it, wants that, and makes it happen, He buys the artwork. There is then some sort of empathy going on between the artist and observer. That empathy I call the “Draw” or “Pull” common to both the artist and the observer.

The Human Brain Book is a complete guide to the one organ in the body that makes each of us what we are - unique individuals. It combines the latest findings from the field of neuroscience with expert text and state-of-the-art illustrations and imaging techniques to provide an incomparable insight into every facet of the brain. Layer by layer, it reveals the fascinating details of this remarkable structure, covering all the key anatomy and delving into the inner workings of the mind, unlocking its many mysteries, and helping you to understand what's going on in those millions of little gray and white cells. Tricky concepts are illustrated and explained with clarity and precision, as The Human Brain Book looks at how the brain sends messages to the rest of the body, how we think and feel, how we perform unconscious actions (for example breathing), explores the nature of genius, asks why we behave the way we do, explains how we see and hear things, and how and why we dream. Physical and psychological disorders affecting the brain and nervous system are clearly illustrated and summarized in easy-to-understand terms. The unique DVD brings the subject to life with interactive elements. These include a clickable model of the brain's structure that allows the user to zoom in and discover deeper layers of detail, while complex processes, such as the journey of a nerve impulse, are broken down and simplified through intuitive animations.

If humans are purely physical, and if it is the brain that does the work formerly assigned to the mind or soul, then how can it fail to be the case that all of our thoughts and actions are determined by the laws of neurobiology? If this is the case, then free will, moral responsibility, and, indeed, reason itself would appear to be in jeopardy. Nancey Murphy and Warren S. Brown here defend a non-reductive version of physicalism whereby humans are (sometimes) the authors of their own thoughts and actions. Did My Neurons Make Me Do It? brings together insights from both philosophy and the cognitive neurosciences to defeat neurobiological reductionism. One resource is a 'post-Cartesian' account of mind as essentially embodied and constituted by action-feedback-evaluation-action loops in the environment, and 'scaffolded' by cultural resources. Another is a non-mysterious account of downward (mental) causation explained in terms of a complex, higher-order system exercising constraints on lower-level causal processes. These resources are intrinsically related: the embeddedness of brain events in action-feedback loops is the key to their mentality, and those broader systems have causal effects on the brain itself. With these resources Murphy and Brown take on two problems in philosophy of mind: a response to the charges that physicalists cannot account for the meaningfulness of language nor the causal efficacy of the mental qua mental. Solutions to these problems are a prerequisite to addressing the central problem of the book: how can biological organisms be free and morally responsible? The authors argue that the free-will problem is badly framed if it is put in terms of neurobiological determinism; the real issue is neurobiological reductionism. If it is indeed possible to make sense of the notion of downward causation, then the relevant question is whether humans exert downward causation over some of their own parts and processes. If all organisms do this to some extent, what needs to be added to this animalian flexibility to constitute free and responsible action? The keys are sophisticated language and hierarchically ordered cognitive processes allowing (mature) humans to evaluate their own actions, motives, goals, and rational and moral principles.