In a strange reality known only as "The Microcosm", a mysterious and catastrophic threat is quickly approaching. A young being named Ollie is tasked with forming a plan to prevent this extra-dimensional anomaly from annihilating all of existence. But as he travels to new worlds and meets new beings, he finds more questions than answers about his existence and his reality.

Your Life Here is the second volume of brief pieces from Terence Kuch's well-known blog Memorable Fancies. The first volume, Everything Wants to Happen, was published in 2015 (revised second edition, 2017). Terence Kuch's fiction, poetry, and plays have been published in the U.S., England, Canada, France, Luxembourg, Ireland, Australia, and Thailand, and have appeared in numerous periodicals including Commonweal, Diagram, Dissent, New Scientist, New York magazine, North American Review, Timber Creek Review, Washington Post Book World, Washington Post Magazine, and have been anthologized in books from Random House and other publishers. His work has been praised by the New York Times and Kirkus Reviews, and a poem has been nominated for a Pushcart Prize. His novels, story collections, plays, and other writings are available on Amazon and elsewhere. For more information on the author, see terencekuch.net.

Borders enclose and separate us. We assign to them tremendous significance. Along them we draw supposedly uncrossable boundaries within which we believe our individual identities begin and end, erecting the metaphysical dividing walls that enclose each one of us into numerically identical, numerically distinct, entities: persons. Do the borders between us - physical, psychological, neurological, causal, spatial, temporal, etc. - merit the metaphysical significance ordinarily accorded them? The central thesis of I Am You is that our borders do not signify boundaries between persons. We are all the same person. Variations on this heretical theme have been voiced periodically throughout the ages (the Upanishads, Averroës, Giordano Bruno, Josiah Royce, Schrödinger, Fred Hoyle, Freeman Dyson). In presenting his arguments, the author relies on detailed analyses of recent formal work on personal identity, especially that of Derek Parfit, Sydney Shoemaker, Robert Nozick, David Wiggins, Daniel C. Dennett and Thomas Nagel, while incorporating the views of Descartes, Leibniz, Wittgenstein, Schopenhauer, Kant, Husserl and Brouwer. His development of the implied moral theory is inspired by, and draws on, Rawls, Sidgwick, Kant and again Parfit. The traditional, commonsense view that we are each a separate person numerically identical to ourselves over time, i.e., that personal identity is closed under known individuating and identifying borders - what the author calls Closed Individualism - is shown to be incoherent. The demonstration that personal identity is not closed but open points collectively in one of two new directions: either there are no continuously existing, self-identical persons over time in the sense ordinarily understood - the sort of view developed by philosophers as diverse as Buddha, Hume and most recently Derek Parfit, what the author calls Empty Individualism - or else you are everyone, i.e., personal identity is not closed under known individuating and identifying borders, what the author calls Open Individualism. In making his case, the author: - offers a new explanation both of consciousness and of self-consciousness - constructs a new theory of Self - explains psychopathologies (e.g. multiple personality disorder, schizophrenia) - shows Open Individualism to be the best competing explanation of who we are - provides the metaphysical foundations for global ethics. The book is intended for philosophers and the philosophically inclined - physicists, mathematicians, psychiatrists, psychologists, linguists, computer scientists, economists, and communication theorists. It is accessible to graduate students and advanced undergraduates.

This book offers an original new conception of visual story telling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form. The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice: two original visual demonstrations clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book’s originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in two new visual demonstrations.

Presents an overview and introduction to Gurdjieff's teaching. This title helps students to integrate theoretical knowledge with practical experience and gain a taste of what it means to work on oneself by following Ginsburg's six lessons.

This is a semibilingual Polish version of the Cambridge Learner's Dictionary, with definitions in English and Polish translations of the headword for each sense.