Maybe you were born to Christian parents and raised as a Christian. Or maybe you are just a part of a Christian nation. You might have attended church regularly, or maybe just on special occasions. If asked, you say that you believe in God, but you really never thought about what that means exactly. You are a well-educated person who accepts the idea of Biblical miracles, but only the more "reasonable" ones. You have read some of the Bible, mostly just parts of the New Testament, but never committed to reading the Bible cover to cover. You are a good person who admires the many "Christian values" as demonstrated by Jesus Christ. But something does not feel right. * Science tells us that the universe is 13.7 billion years old, but the Bible tells us it's 6,000 years old. * Science tells us life is the result of emergent properties in combined molecules, and we have evolved from a very primitive life form, but the Bible says that God made us, as is, from dust, and blew life in our noses. * You see a world where little bunnies burn to death in forest fires, and wonder why an all-good and loving God would allow such a thing to happen. * You pray to God and you realize that sometimes your prayers are answered, and sometimes they aren't -- just as if you didn't pray at all. * You hear about other religions and wonder why your religion is right and every other religion on the planet is wrong. * You have a real problem with the idea of all your non-Jesus-believing friends and family spending eternity in Hell.âe¨ In fact, the more you look around, the more you see a world absent of this perfect image of a perfect God. As much as you want to avoid critical thinking and "just let go and have faith", you find that you cannot believe in something contrary to your logic and reason -- no matter how much you want to. This might lead to feelings of guilt, insincerity, and/or hypocrisy. Yet you just can't imagine living life without God, and you don't have to. When you start asking serious questions about God and religion, you begin to see through the stories of people living inside the stomachs of big fish, 900-year-old men, and bodies coming back to life after three days, and understand how man created God, and not the other way around. By daring to question "sacred" religion, challenging your childhood beliefs, and risking eternal damnation (okay, so there might be a minor side effect to reading this book), you will discover an appreciation for religion on a new level, as well as a renewed appreciation for the human race. Through a unique blend of science, philosophy, theology, and a touch of humor, you will see how you can trust your logic and reason, be true to yourself, and embrace God - not as a being, but as a concept - The Concept.

Now thoroughly revised and updated, this systematically presented coursebook tells you everything you need to know about advertising, from how to write copy and choose a typeface, to how agencies work and the different strategies used for print, TV or cinema and other media, including interactive. Exercises throughout help the reader judge their own work and that of others. By getting to the heart of the creative process in a way that other guides dont, the book can help anyone produce better advertising. This new edition features a thoroughly revised and updated chapter on interactive advertising, with new exercises and some thirty new illustrations. 'Invaluable' Creative Review 'Enormously encouraging, practical and entertaining. If this book could stand in front of a class (of creative students) and talk, I'd be out of a job.' Tony Cullingham, Course Director, The Watford Creative Advertising Course, West Herts College

If we push the definition of a?book? beyond the traditional form of the codex to encompass cuneiform tablets, papyri, as well as the printed and digital book- just what is the essence of its purpose? Featuring contributors from a wide range of disciplines such as art history, medieval studies, ancient Near-Eastern history, information management and the history of the book, this ambitious new release explores the biography of the concept of the book, and its function across millennia. 0The volume analyses the role of the book as a tool of communication. It examines a broad conceptual range; from the evolution of medieval encyclopaedia, 17th century pamphlets on witchcraft trials, and the role of books produced as propaganda by the Ministry of Information in Britain during the Second World War. It covers an impressive timespan and geography, detailing accounting systems in ancient Assyria, the dissemination of Aristotelian texts in late medieval Europe, and the Penny Post in 19th-century England. This volume boldly demonstrates the functionality of the book to be as diverse as human endeavour.

Concepts embody our knowledge of the kinds of things there are in the world. Tying our past experiences to our present interactions with the environment, they enable us to recognize and understand new objects and events. Concepts are also relevant to understanding domains such as social situations, personality types, and even artistic styles. Yet like other phenomenologically simple cognitive processes such as walking or understanding speech, concept formation and use are maddeningly complex. Research since the 1970s and the decline of the "classical view" of concepts have greatly illuminated the psychology of concepts. But persistent theoretical disputes have sometimes obscured this progress. The Big Book of Concepts goes beyond those disputes to reveal the advances that have been made, focusing on the major empirical discoveries. By reviewing and evaluating research on diverse topics such as category learning, word meaning, conceptual development in infants and children, and the basic level of categorization, the book develops a much broader range of criteria than is usual for evaluating theories of concepts.

This now-classic work challenges what Ryle calls philosophy's "official theory, " the Cartesian "myth" of the separation of mind and matter. Ryle's linguistic analysis remaps the conceptual geography of mind, not so much solving traditional philosophical problams as dissolving them into the mere consequences of misguided language. His plain language and essentially simple purpose put him in the tradition of Locke, Berkeley, Mill, and Russell - philisophers whose best work, like Ryle's, has become a part of our general literature.

In this book the author takes the concept of the New as a starting point to open the way to a broader reflection on ar t production within neoliberal capitalism. Piazza explores the notions of innovation and New respectively in the Social Sciences and in the Humanities, tracing the differences from the conceptual and temporal perspective in relation to the most recent debates on creativity and postmodernism. The book investigates the field of theatre and dance, focusing on the essential aspects that link the New with the contemporary condition and its discourse. Combining theory and practice, this book calls for an art production able to slip out of the framework of innovation and builds the ground to rethink the New and its political value in the arts.

Hailed as "one of the most valuable books on the relation of philosophy and science," Alfred North Whitehead's The Concept of Nature, first published in 1920, was an important contribution to the development of philosophic naturalism. Examining the fundamental problems of substance, space, and time, Whitehead assesses the impact of Einstein's theories as well as the then-recent findings of modern physics on the concept of nature. For students and teachers of natural philosophy, this is essential reading. English mathematician and philosopher ALFRED NORTH WHITEHEAD (1861-1947) contributed significantly to 20th-century logic and metaphysics. With Bertrand Russell he cowrote the landmark Principia Mathematica, and also authored An Inquiry Concerning the Principles of Natural Knowledge, The Function of Reason, and Process and Reality.