Sabtu, 18 Februari 2012

[N857.Ebook] Fee Download Music Theory for Computer Musicians, by Michael Hewitt

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Music Theory for Computer Musicians, by Michael Hewitt

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Music Theory for Computer Musicians, by Michael Hewitt

Many DJs, gigging musicians, and electronic music producers understand how to play their instruments or make music on the computer, but they lack the basic knowledge of music theory needed to take their music-making to the next level and compose truly professional tracks. Beneath all the enormously different styles of modern electronic music lie certain fundamentals of the musical language that are exactly the same no matter what kind of music you write. It is very important to acquire an understanding of these fundamentals if you are to develop as a musician and music producer. Put simply, you need to know what you are doing with regard to the music that you are writing. Music Theory for Computer Musicians explains these music theory fundamentals in the most simple and accessible way possible. Concepts are taught using the MIDI keyboard environment and today's computer composing and recording software. By reading this book and following the exercises contained within it, you, the aspiring music producer/computer musician, will find yourself making great progress toward understanding and using these fundamentals of the music language. The result will be a great improvement in your ability to write and produce your own original music!

  • Sales Rank: #28788 in Books
  • Brand: Cengage Learning
  • Published on: 2008-04-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 7.25" w x 1.00" l, 1.51 pounds
  • Binding: Paperback
  • 336 pages
Features
  • Used Book in Good Condition

Review
Introduction Chapter 1: Musical Sound Chapter 2: The Notes Chapter 3: The Major Scale Chapter 4: Rhythm, Tempo and Note Lengths Chapter 5: Score Editing Chapter 6: Intervals Chapter 7: Meter Chapter 8: Chords Chapter 9: The Natural Minor Scale Chapter 10: Melody and Motives Chapter 11: The Harmonic and Melodic Minor Scales Chapter 12: Augmented and Diminished Intervals and Interval Inversions Chapter 13: Chordal Inversions, Octave Doubling, and Spacing Chapter 14: Additive Rhythms Chapter 15: Expanding Your Knowledge of Keys Chapter 16: the Pentatonic Scale Chapter 17: Major, Minor, Augmented, and Diminished Triads Chapter 18: Chord Progressions and Root Movement Chapter 19: The Cycle of Fifths Chapter 20: The Seven Diatonic Modes Chapter 21: Chords of the Seventh Chapter 22: Exotic Scales Chapter 23: Complex Harmony Chapter 24: Arpeggiation Chapter 25: Intonation Chapter 26: Conclusion Appendix A: Scales Appendix B: Audio CD and Accompanying Text Sidebars

About the Author
Dr. Michael Hewitt was born in South Wales in the United Kingdom. He earned his bachelor of music degree at London University and a master's degree and doctorate at the University of North Wales, Bangor, where he specialized in musical composition. He is a classically trained musician, composer, lecturer, and author on musical subjects. He also writes classical scores as well as soundtracks for various television productions both at home and abroad. He is currently working as a music technology tutor at Coleg Harlech in North Wales.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Clearly explains theory in a straight forward, and easy to understand way.
By ron
Music Theory for Computer Musicians is written very well. I really like the way the song building on cord progressions is explained.
Where other theory books muddy the explanation this book makes it clear and simple. The use of diagrams, and the piano roll is very helpful. This book excels where other kindle formatted books have been lacking. That is in the display and layout of the explanatory figures that usually don't translate to the kindle editions well. I think this is a god theory book for any musician. I apply it to guitar, keyboard, and ukulele.

2 of 2 people found the following review helpful.
Good concept, poor execution
By DarkKnight22
The author is well qualified and doubtless incredibly talented as well, but I think this book falls short of its potential. As a complete novice in the world of music theory, I really felt that the early chapters were great, but that the later ones didn't include enough depth for me to understand what he was getting at. I know practice is important, but it is difficult to practice when you can't even understand what the author is getting at.

0 of 0 people found the following review helpful.
Absolutely AMAZING BOOK!!!
By emanicus
This book is absolutely AMAZING!!!! If you are self thought and played synths and keyboards all your life and you want finally get into the music theory then this book is definitely for you. It is very clear and constantly matches computer examples to pure music samples. very very well written and the exercises are not that easy like you normally find in these teaching books... they get tougher and tougher as you move up on chapters. there is a new version coming out this year and even if there very few changes in it compared with this older version I will definitely get me a copy.!!!

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Jumat, 17 Februari 2012

[U701.Ebook] Download Self-assessment of current knowledge in urology : 1134 multiple choice questions and referenced answers,, by Stephen M. Lazarus

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Self-assessment of current knowledge in urology : 1134 multiple choice questions and referenced answers,, by Stephen M. Lazarus

  • Published on: 1972
  • Binding: Unknown Binding

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[R866.Ebook] Ebook The Life and Kingdom of Jesus in Christian Souls, by Saint John Eudes, Brother Hermenegild TOSF

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According to the Roman Breviary, Saint John Eudes is the author of devotion to both the Sacred Heart of Jesus and the Immaculate Heart of Mary. His two works on these two devotions are classics. However, he is also a master to the spiritual life; an unknown master. Many are familiar with the works of Saint Bonaventure, Saint Alphonsus Ligouri and Saint Louis de Montfort to name just three of the masters of the spiritual life. And yet, Saint John Eudes has a lot to contribute. Let us consider this from Saint John Eudes in this excellent work: What truth can there be in the claim that we are Christians and adore a crucified God, a God agonizing and dying upon a Cross, a God who for love of us gives up so noble and excellent life, a God Who sacrifices Himself for us every day, before our eyes upon our altars for our salvation, if we are not ready to sacrifice to Him all that we hold dearest in the world, and even life itself, which in any case belongs to Him by all rights? Surely we are not Christians if we are not in these dispositions. Therefore I say, and this will immediately be clear to anyone who gives a little thought to the truths I have outlined, that all Christians ought to be martyrs, if not in actual fact, at least in intention and in will. So true is this, that if they are not martyrs of Jesus Christ, they will be martyrs of Satan. Choose whichever of the two you love more. If you live under the tyranny of sin, you will be a martyr to your self-love and your passions, and consequently a martyr to the devil. But if you desire to be a martyr of Jesus Christ, you must strive to live in the spirit of martyrdom. What is the spirit of martyrdom? It is a spirit that had five excellent attributes: 1.it is the spirit of strength and constancy which fears only God and sin, and cannot be shaken or overthrown, either by promises or threats, by persuasion or violence. 2.It is the spirit of deepest humility, which feels only horror for the vainglory and publicity of the world, and loves contempt and humiliations. 3.It is the spirit of self-mistrust and of most firm confidence in Jesus Christ our Lord, our Strength, in whom all things can be done. 4.If is the spirit of perfect detachment from the world and everything that is in the world. Those who are to sacrifice their lives to God must also sacrifice to Him all else besides. 5.It is the spirit of most burning love for our Lord Jesus Christ, who leads those animated by this spirit to do all and suffer all for love of Him, who dies and suffered all for them. It so inflames them that, for love of Him, they consider mortification and suffering to be a paradise of joys, to be sought and desired while they avoid and detest the pleasures of this world as much as they would hell itself. This is the spirit of martyrdom,. Implore, O Lord, who is the King of Martyrs, to fill you with this spirit. Pray to the Queen of martyrs, and all the martyrs, too, that they may obtain this spirit for you from the Son of God, by their holy prayers. Cultivate a particular devotion to the saintly martyrs. Make a point, also, of praying for all those who will have to suffer martyrdom, in order that God may grant them the spirit and grace of martyrdom. Pray especially for those who will have to suffer the persecution of antichrist at the end of the world, for it will be the most cruel and horrible of all persecutions. Finally, strive to develop within yourself, by imitation, a perfect image of the lives of the holy martyrs and, what is more, the life of the King and the Queen of martyrs, Jesus and Mary, so that they may make you worthy to resemble them in death.

  • Sales Rank: #1453758 in Books
  • Published on: 2013-10-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .87" w x 6.00" l, 1.12 pounds
  • Binding: Paperback
  • 382 pages

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0 of 0 people found the following review helpful.
Spiritual inspiration
By Alan
St. John Eudes is a genius, and his writings will expand your holiness and sanctification. Charity, love, devotion and grace will follow.

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[I920.Ebook] Free PDF Truly Wilde: The Unsettling Story Of Dolly Wilde, Oscar's Unusual Niece, by Joan Schenkar

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Truly Wilde: The Unsettling Story Of Dolly Wilde, Oscar's Unusual Niece, by Joan Schenkar

A "born writer" who never completed the creative life promised by her famous name and gorgeous imagination, Dolly Wilde was charged with charm, brilliantly witty, changeable as refracting light, and loaded with sexual allure. She made her career in the salonsand in the bedroomsof some of London's and Paris' most interesting women and men. Attracting people of taste and talent wherever she went, she drenched her prodigious talents in liquids and chemicals, burnt up her opportunities in flamboyant affairs, and created continuous sensations by the ways in which she seemed to be re-living the life of her infamous uncle. In this revolutionary and very modern biography, Joan Schenkar provides a fascinating look at what it means to live with the talents but not the achievements of biography's usual subjects: those obliterating "winners"like Dolly's uncle Oscarwhose stories have almost erased riveting histories like Dolly's own. And she uncovers never-before-published evidence of the hidden life of the Wilde family and of the extraordinary salon society of Natalie Clifford Barney, Dolly Wilde's longest and most fatal attachment.

  • Sales Rank: #2136958 in Books
  • Published on: 2000-11-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.28" h x 6.50" w x 9.56" l,
  • Binding: Hardcover
  • 400 pages

Amazon.com Review
She was lovely, sophisticated, and famous for her witty conversation, even in a social circle that was known for its fabulous talkers. The only child of Oscar Wilde's dissipated older brother Willie, Dolly Wilde (1895-1941) led a life as scandalous and glittering as her uncle's: she, too, loved her own sex, and her longest romantic relationship was with American heiress Natalie Clifford Barney, who was host of the most important Parisian literary salon of the 20th century. Unfortunately for Dolly's posthumous reputation, she "was an artist of the spoken word" whose only written legacy was her marvelous correspondence. Quoting liberally and perceptively from those letters, American playwright Joan Schenkar brings Wilde to life in a modernist biography that is written in prose as sparkling as Dolly's fabled bons mots. Schenkar eschews conventional chronology to consider Wilde's life thematically, from her lesbianism to her taste for smart society to her self-destructive identification with Uncle Oscar. She reminds us just how remarkable and accomplished were the women at Barney's salon (journalist Janet Flanner, novelist Djuna Barnes, and artist Mina Loy, among them) and how much they esteemed Dolly Wilde. Yet, her biographer downplays neither Wilde's addiction to drugs nor the sad loneliness of her death (possibly from a drug overdose) at age 45. This is essentially a tale of "squandered gifts and lost opportunities," Schenkar acknowledges, but she successfully provokes readers to share her admiration for Wilde's prodigal generosity with both her talent and her affections. --Wendy Smith

From Publishers Weekly
Dolly Wilde, born the year Oscar Wilde went to prison, bore a striking resemblance to her famous uncle and spent her life both burdened and animated by his legend. She inherited much of his charm, a portion of his wit and none of his genius. Consequently, she left behind little of substance save the fond recollections of her friends and lovers, among them salon hostess Natalie Clifford Barney, New Yorker Paris correspondent Janet Flanner and Russian actress Alla Nazimova, and several bundles of love letters. Such a dearth of achievement leaves a biographer at a considerable disadvantage. The playwright Joan Schenkar, who appears to have fallen as much under Dolly's spell as any of her contemporaries, resolves these difficulties by approaching Dolly's life thematically, inventing and dramatizing in the absence of fact, interpreting what facts there are from a variety of perspectives. Such an approach requires her to ignore chronology and with it whatever impact the larger historical and political context may have had on Dolly's development. What emerges is a flamboyant sketch of that glittering, often frantic, sometimes brilliant society of rich lesbians that flourished between the wars in London and Paris. In this milieu, Dolly seems a kind of lesbian Zelda Fitzgerald, self-destructive, addicted, often foolish and, by the end of her brief life, quite sad. Schenkar strives valiantly to make of Dolly's life a tragic work of art. While she is able to convey Dolly's charm and attractiveness, she is not quite as successful in convincing the reader that her subject is sufficiently consequential to merit a full-length biography. Illus.
Copyright 2000 Reed Business Information, Inc.

Review
"The book is an absolute winner." -- -Simon Callow, The Mail

Most helpful customer reviews

0 of 0 people found the following review helpful.
Fascinating but Tragic
By Verbena Reverb
Yes, 4 stars means I liked it. It was a fascinating age, the early 20th Cent in Paris, no matter who the subject matter is. This Wilde seems to have been almost a mistake on the part of the profligate father and the deer-in-the-headlights mother. She was soon shoved off to boarding school. So yes, she looked more like Oscar than Oscar's kids. Interesting, and she had his way with words. But she was a lost soul, taken in by those who loved her, other women.

0 of 0 people found the following review helpful.
I loved the book
By sLy
I loved the book. I had an interesting perspective on a subject that there is literally nothing about. My only issue was that there were formatting problems and some places had typos. Other places the font conversion seemed to mess up whatever effect was trying to be produced. Maybe the Author could work on fixing the formatting/usability issues and it would be more enjoyable. Thank you.

13 of 16 people found the following review helpful.
Writer's style provokes opposite, intense reactions
By DAMwriter
I've read with some interest the previous reviews of "Truly Wilde," and am not at all surprised that the author and her book would inspire such diverse -- no, opposite -- responses in readers. In this review, I thought I would try to explore the reasons behind those responses, in others and in myself.
To be frank, it took me several months to work my way through this book, an amount of time I rarely dedicate -- or need to dedicate -- to any book on the first read (unless I'm being paid to read and review it!). I was frequently driven to verbal expressions of frustration with the repetitive, coy, repetitive, acrobatic, repetitive prose style used by the author. I would put the book down on the nightstand, swearing not to pick it up again.
Then curiosity would get the better of me. Dolly is, after all, a fascinating, complex person, one who clearly suffered personal, public, and familial demons with amazing grace, while failing to profit from the many natural advantages granted by her personality, wit, style and physical resemblance to her famous uncle. She had it all, yet she had nothing, and in fairness to her I somehow felt it important to keep reading and, thus, pay tribute to her place in history.
And in fairness to the author, her prose is often brilliant. Whether or not she sat down and wrote the book from first page to last, in that order, she certainly seems to find her mark by the second half of the book. Her initial, clumsy and often annoying verbal acrobatics become -- by the final chapters -- a graceful ballet. It's a style that isn't always successful even when done well, and the contrast between the early chapters and the latter chapters may go some way in explaining the varied responses given by the reviewers here on Amazon.
The author quite consciously and freely admits in the introduction to having defied the traditional, chronological method of biography. Her chapters are not arranged in order of the major events in Dolly's life; rather, they are organized according to various themes, and in some respects this works. Unfortunately, the themes are not always so different from each other that they justify a separate chapter. As a result, stories and events are often told more than once, gossipy tidbits about the primary (and secondary) personalities are repeated throughout the book -- as if we needed reminding -- and descriptions of Dolly's physical, emotional and mental characteristics and states are given again and again.
All of which gives the feeling that you're riding on a carousel. The scenery starts to look awfully familiar.
I understand that the author's desire to take this unique approach was inspired by Dolly's own 'mode de vie.' Dolly lived in the moment, and each moment was as valid as any other, regardless of when it occurred. I admire the author's willingness to take a risk and tell Dolly's story in a thematic, rather than chronological, fashion. However, this method places additional burdens on the writer to make sure that she is properly guiding the reader along on an unfamiliar ride -- and unfortunately, Shenkar's all-over-the-map, alternately-flying-and-crashing prose makes this trip a difficult one, at least at the beginning.
To sum up, I'd suggest that anyone who is interested in the story of Dolly Wilde should read this book. It IS a fascinating story, and a window onto a world of women artists that we have rarely been offered. Try to get past the repetition and fireworks until you're at least into the second half of the book, when the author really hits her stride.
On the other hand, if the topic alone is of only moderate interest to you, you are likely to find yourself quickly bogged down and disappointed. Summer reading this is not!

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Selasa, 14 Februari 2012

[I323.Ebook] Get Free Ebook Looking Up Devotional Journal: Trusting God with Your Every Need, by Beth Moore

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Looking Up Devotional Journal: Trusting God with Your Every Need, by Beth Moore

When life is looking down, look up and find God’s deliverance!

Life can be hard…sometimes to the point of feeling as though your struggles will never end, and God isn’t anywhere near. The Looking Up Devotional Journal is Beth Moore’s timeless message of hope and deliverance taken from Psalm 40. You’ll discover you are indeed not alone, and that God’s gracious provision of love and faithfulness is at work, pointing you toward a life of wholeness and fullness. Guided journaling gently leads you out of hardship into a brighter future of purpose and peace.

This lovely devotional journal is based on Beth’s bestselling book, Get Out of That Pit.

  • Sales Rank: #101845 in Books
  • Brand: HarperCollins Christian Pub.
  • Published on: 2011-01-02
  • Released on: 2011-01-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.23" h x .75" w x 6.38" l, 1.20 pounds
  • Binding: Hardcover
  • 224 pages

About the Author
Beth Moore is a teacher and writer of bestselling books and Bible studies whose public speaking engagements carry her all over the United States and the world. A dedicated wife, mother of two, and happy grandmother to two, Mooreleads Living Proof Ministries.

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6 of 6 people found the following review helpful.
challenging
By ceyster
If you are looking for a devotional journal that will really challenge your faith and help you to overcome obsticles that are preventing you from moving forward with God's purpose I highly recommend you use this.

5 of 5 people found the following review helpful.
Very thought provoking, Joy restoring
By lkc2004
I have enjoyed this journal and its insights, personal touches, prayers, and scriptures, so much, I have given several away as gifts to others who nneded to climb UP and look up.

3 of 3 people found the following review helpful.
Love Beth Moore
By Kathy
I have never had a problem with a Beth Moore product that I have purchased. This journal is very helpful and gives you guidance and direction. I really liked this and the cover and the way it closes are exceptional.

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Rabu, 08 Februari 2012

[K635.Ebook] Ebook Free Pieces of My Mind: Essays and Criticism 1958-2002, by Frank Kermode

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Pieces of My Mind: Essays and Criticism 1958-2002, by Frank Kermode

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Pieces of My Mind: Essays and Criticism 1958-2002, by Frank Kermode

Sir Frank Kermode has been writing peerless literary criticism for more than a half-century. Pieces of My Mind includes his own choice of his major essays since 1958, beginning with his extraordinary study of "Poet and Dancer Before Diaghilev" and ending with a marvelous consideration of Shakespeare's Othello and Verdi-Boito's Otello. Important essays on Hawthorne, on Wallace Stevens, on problems in literary theory and analysis, on Auden, on "Secrets and Narrative Sequence," and three previously unpublished essays (including one on "Memory" and one on "Forgetting") fill out this rich and rewarding volume. Pieces of My Mind also contains recent considerations of the work of major modern writers--Don DeLillo, Raymond Carver, Tom Paulin, and others.

Of Kermode's last book, Shakespeare's Language, Richard Howard wrote that it was "a triumph of inauguration and the crowning action of his splendid career of criticism. It is, and will doubtless remain, the first book one should read about Shakespeare's plays, and with those plays." Pieces of My Mind has equal authority and power, and it will be equally praised.

  • Sales Rank: #376558 in Books
  • Brand: Brand: Farrar, Straus and Giroux
  • Published on: 2003-09-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.50" w x 6.00" l,
  • Binding: Hardcover
  • 480 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
Born on the Isle of Man and linked over the years with Cambridge, Harvard and Columbia Universities, Kermode belongs to the superleague of internationally famous old-school literary critics that also includes Harold Bloom, Geoffrey Hartman and Christopher Ricks; his best-known works in America include The Sense of an Ending, Shakespeare's Language and an autobiography, Not Entitled. This hefty and very worthwhile collection samples his interests from opera to modern dance, from the New Testament to the English novelist Ian McEwan. It includes chapters from Kermode's most famous books, freestanding academic pieces and lectures, essay-reviews from the London Review of Books, and four substantial unpublished essays, including a provocative exploration of literary and cognitive "forgetting." Kermode's recurring subjects include Shakespeare, Wallace Stevens, Joseph Conrad, modern fiction and narrative generally, and the nature of interpretation. If his most theoretical work seems very much of its time (the 1970s and '80s), the work on novels, poems and plays stands up quite well, exhibiting Kermode's blend of sophisticated reading and consistently accessible writing. "Shakespeare and Boito" (a new piece) compares the original Othello to the one in Verdi's opera; "The Man in the Macintosh" (1979) asks Joyceans, and New Testament readers, "why do we prefer enigmas to muddles?" Kermode can simply observe, or ask questions, rather than advancing extended arguments, a way of reading that proves as instructive as it is satisfying.
Copyright 2003 Reed Business Information, Inc.

From Booklist
Distinguished British critic Kermode celebrates his often-misunderstood calling in his preface to this substantial collection of critical essays culled from four decades of work, writing that "the business of explanation--of elucidation and comparisons--has to go on as long as art goes on." And criticism, Kermode remarks, can and should be as pleasurable as it is useful, although his idea of pleasure is of a rigorous nature. Kermode parses complicated, even esoteric aspects of story and text, metaphysics and poetry, and the link between social change and the evolution of the novel, yet he is unfailingly clear and cheerfully engaging, classy, and stimulating. His long essays chart fresh discoveries in the work of Wallace Stevens and retrieve a remarkable yet forgotten American dancer, Loie Fuller, and a neglected writer, Christopher Burney, a British agent captured in occupied France who wrote behind bars. Then there are brilliant reflections on Conrad, brain-twisting considerations of our notions of time and how they have influenced literature, and short takes on living writers, all criticism at its finest. Donna Seaman
Copyright � American Library Association. All rights reserved

Review
"Kermode is undoubtedly the greatest literary scholar of his generation." --Colin MacCabe, The Independent

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4 of 5 people found the following review helpful.
Fresh, sharp, at ease
By A Customer
Kermode's collection of essays demonstrates a brilliant mind scanning the diverse subjects to which it was led by curiosity and passion. As a literary critic, Kermode is an exemplar of the creative possibilities of theory-- rather than operating in one single mode, he adopts freely as he sees fit from a range of theoretical and disciplinary perspectives. These essays prove the value in a commitment to following personal interests rather than fashionable academic mandates and to wearing critical perspectives as a mask: for the sake of entertainment, flashes of enlightenment, and personal freedom. With a passion for literature, and for thinking about literature's bearing upon itself, Kermode writes beautifully and clearly. He carries literature beyond its own formal bounds, without subordinating it to 'larger', 'more serious' concerns (such as Philosophy, Politics or History) though acknowleding its interactions with these disciplines. More specifically, Kermode shows a consistent concern with hermeneutics and narrative as code, returning again and again to an interest in the New Testament that appears even before his well-known "The Genesis of Secrecy".

4 of 4 people found the following review helpful.
life/style
By Stephanie Donnelly
It's beautifully fitting that this collection of Kermode's essays begins with "Poet and Dancer Before Diaghilev." Kermode moves with balletic grace and alacrity through subjects ranging from Parisian salon culture of the '20s to Don DeLillo, often using the written word (Yeats, Stevens) as a point of departure for further critical and cultural adventuring. Pieces of My Mind is a pure pleasure from start to finish -- a generous testament to Sir Kermode's love and wonder for many, many things.

0 of 1 people found the following review helpful.
Not really Kermode at his best
By 3rd Day Believer
This guy can write so well, but this book is a relatively boring amalgam of essays, mostly about nothing of real interest. There's some great Kermode writing, but not much of it is to be found here.

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Jumat, 03 Februari 2012

[K592.Ebook] Fee Download The Ghost in the Machine, by Arthur Koestler

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The Ghost in the Machine, by Arthur Koestler

In The Sleepwalkers and The Act of Creation Arthur Koestler provided pioneering studies of scientific discovery and artistic inspiration, the twin pinnacles of human achievement. The Ghost in the Machine looks at the dark side of the coin: our terrible urge to self-destruction...

Could the human species be a gigantic evolutionary mistake? To answer that startling question Koestler examines how experts on evolution and psychology all too often write about people with an ‘antiquated slot-machine model based on the naively mechanistic world-view of the nineteenth century. His brilliant polemic helped to instigate a major revolution in the life sciences, yet its ‘glimpses of an alternative world-view’ form only the background to an even more challenging analysis of the human predicament. Perhaps, he suggests, we are a species in which ancient and recent brain structures - or reason and emotion - are not fully co-ordinated. Such in-built deficiencies may explain the paranoia, violence and insanity that are central strands of human history. And however disturbing we find such issues, Koestler contends, it is only when we face our limitations head-on that we can hope to find a remedy.

  • Sales Rank: #380260 in Books
  • Published on: 1982-10-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.99" h x .89" w x 5.24" l, .99 pounds
  • Binding: Paperback
  • 400 pages

About the Author
Juif hongrois ne a Budapest en 1905, Arthur Koestler fait ses etudes a Vienne, puis devient journaliste en Palestine. Revenu en Europe, il adhere au Parti communiste allemand, trouvant la une reponse a la menace nazie, mais egalement seduit par l'utopie sovietique. Il part un an en URSS, puis participe a la guerre civile espagnole. A partir de 1938, ayant rompu avec le Parti communiste, il combattra sans relache le regime stalinien, notamment a travers son roman majeur, Le Zero et l'Infini. A partir de 1940, il vit en Angleterre, ou il se suicidera avec sa femme en mars 1983. Son oeuvre de romancier, philosophe, historien et essayiste lui vaut une renommee mondiale.

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29 of 29 people found the following review helpful.
A Fundamental Contradiction of "Biological and Cultural Man"
By Herbert L Calhoun
This, Koestler's crowning scientific analysis of the predicament of man (at least as that predicament is seen through the flawed eyes of the behaviorist model), is an impressive achievement. Other than the works of Ernest Becker ("Denial of Death," "Escape From Evil," and "The Birth and Death of Meaning," in particular), or Nietzsche's "Beyond Good and Evil," I know of nothing that even comes close to this panoramic, thorough and incisive, deconstruction, analysis and then synthesis of how man got into his present moral cul de sac. To say that this is a monumental critique of behaviorism and its underlying psychological models would be a gross understatement. There is simply nothing else in the intellectual universe that quite compares to it. Even to a trained Behaviorist like myself, it's clear exacting language alone puts it in an elite class of English writers comparable only to that of say, a Sir Winston Churchill. Or even for those who have heaped scorn upon Koestler's works, no one in search of a model of literary and intellectual clarity can do better than his writings. It is not accidental that Koestler's works on three occasions have been nominated for the Nobel Prize for Literature. Believe what he says or not, his exposition simply remains unsurpassed.

Unlike Becker, or Nietzsche, or even Kierkegaard, who all see man's confusing moral existence on earth as simply a monumental existential tragedy, urged along mostly by the confusion of his own narcissistic self-important, or his fear of death or his twisted drama of the web of cultural meanings and misunderstandings, Koestler sees it more as the pathological consequence of a series of specialized and cumulative evolutionary mistakes. As he puts it so well, "on the flip side of man's incredible creative abilities, is also his streak of insanity whose pathology is rooted in biology." That is to say, the pathology of the human mind: Man's belief in the unreal, in gods, devils, angels, monsters, totems and succubi; his will towards industrial scale hatred, racism, genocide and violence, and his general inability to be at peace with the imperatives of his own existence, are all rooted in brain architecture as much as in psychology. Koestler sees them as having their origins in the disconnection or misconnections between the old "instinct run," reptilian brain, and the new neo-cortex, or "rational, and abstract run," modern brain. Although Koestler was not the first to advance such a thesis, (and certainly many others have done so since 1967) no one has defended it quite as well and as elaborately as he has done here. In this, the third of a trilogy that includes "The Sleepwalkers and "The Act of Creation" (which I have also reviewed on Amazon.com), is the centerpiece of Koestler's rather prodigious work. This is the last scientific non-fiction book produced by him before he and his third wife Cynthia ended their lives in a joint act of "planned" suicide.

Koestler's story is beautifully written enough, complicated enough that no review can do it complete justice and anyway, one has to read the book carefully himself lest he run the serious risk of being misled by someone else's misinterpretations. Plus, Koestler's English is so beautiful that it would be a sin not to read every word of his text oneself. So I attempt a summary at the peril of getting some, if not most of what he says, wrong.

From the very outset, the most important suggestion one can make in trying to understand this work is to realize that Koestler, whatever else he may be, is a "pure systemic thinker." He sees the world and the whole of biology through the eyes and language of the General Systems Theory of my mentor Charles A. McClelland, or of his mentor Ludwig von Bertalanffy. The core concept of this exposition thus is a system theoretic concept coined by Koestler, and which has since become part of the General Systems Theory vernacular. It is the idea of a "holon," which described loosely, is a subsystem with the property of being able, as needed, to act completely independent of a "host," and thus able to sustain itself as a whole system. While a "holon" can (and usually does) engage in symbiotic relationships with larger super-ordinate systems, it does so purely in a synergistic way that is as much discretionary as a biological imperative.

Koestler's biological world is populated completely by organisms that are multi-level "ordered" and open hierarchical systems, connected at all levels via "holons." It goes almost without saying that he also sees man as the most elegant and complex of such "ordered" open and hierarchical systems. Once he has set up his intellectual machinery, the author spends what seems like an inordinate about of time, using elaborate examples to demonstrate the difference between the "nonlinear hierarchical systems approach" to biological evolutionary specialization and the more "linear serial mechanistic approach," between open and closed systems; between "flat" or disordered systems and ordered hierarchical ones, all as a build up to his main entree, which is to demonstrate the consequences of the grand disconnect, or misconnect, (or better yet, crude overlap) between man's old reptilian "instinct run" brain and the new neo-cortex, or "abstract, or rationally run" brain.

According to Koestler, the process of evolutionary improvements is nether pretty, nor orderly. It is beset with trial and error, fits and starts, dead ends, switchbacks, retrogression, and recycling of formerly discarded parts. And all these mishaps are more the rule than the exception. With the explosive development of the brain (which even today still remains unaccounted for), it is Koestler's view that something went horribly wrong with the connections between the old and the new brain. It is one of man's most enduring dilemmas that he has failed to reconcile the differences between the competing imperatives of his "instinctual" and his "rational" brains.

One, the "instinctual" brain, has led to the primitive behavior that characterizes the worst of man's excesses, i.e. is to racism, the genocide of the holocaust, nuclear war, religions, and more generally to a fear-based cultural and social existence. While the other, the neo-cortex based rational brain, has led to artistic and scientific creativity and discovery, and most of all, to most of human and cultural progress as we now have come to know it. In the contest between these two competing imperatives, Koestler sees the reptilian brain winning out and dominating the rational brain. And it is this dominance that he worries is continuing to lead man and civilization down a path to self-destruction.It is this disconnect that has allowed man's development in weapons technology to out run his capacity for peacemaking. It is this mismatch that is most likely to lead to a nuclear holocaust and the end of civilization.

Koestler's incredible solution to this problem is to have us re-enter Adolph Huxley's "Brave New World" of pharmacologic medication, with a vengeance. The rationale for medicating "cultural man" and its leaders, (as oppose to individuals) as a way of fixing God's biological error, is that human processes are mostly regulated by chemistry anyway, so there is nothing inherently unusual or anti-human about fixing mishaps in brain architecture via chemical manipulation.

While many of Koestler's critics howled at this suggestion, they probably did so more because they were aware that at the time, Koestler's was busy consorting with Timothy Leary as one of Leary's first experimental LSD subjects, than due to any lack of soundness of his arguments. Based on the logic and soundness of what we now know about human nature and biological processes, Koestler's suggestion does not sound quite so outlandish as it did 40 years ago. And as novel as it may still seem, it has considerable scientific merit, even if it is wholly unacceptable to our reptilian dominated cultural brain. The larger point however, is likely to give Koestler the last laugh, for if any one has not missed it, in our present Prozac run culture, Koestler's fix appears to be happening de facto, one person and group at a time, by default, anyway, no matter what his critics may say or think. Fifty stars.

57 of 62 people found the following review helpful.
The Evil that Men do
By R Bell
When I first read this book I was stunned... and as one of the other reviewers said, baffled by why he produced that ending! (it's the ending which has "taken" one star off my rating). Always the polymath, Koestler starts by covering psychology, including Skinner's experiments with rats and subsequent theories on human nature which he pulls apart thoroughly. Koestler then comes out with the unfashionable theory that the human brain may have evolutionary flaws in it, since it was merely built on the older more primitive brains of its ancestors and the new and old parts do not always communicate well with one another. Partially because of this we have a lot of the problems of human life such as the urge to self-destruction and violence, which emanate from the older parts of the brain. He ties this in with history and if I remember, results of some shocking experiments. It has lost some of its immediacy since the end of the Cold War (nuclear bombs are still with us more than ever in Israel, Pakistan, India, China etc).
While I have simplified some of the book's ideas above, it is not always light reading, but it can be read by a layman. I think some of the subjects Koestler tackles are taboo (such as the idea humans overall are instrinsically "evil") rather than innately good, and he dismisses wishful thinking. Some people do take issue with his ideas... unfortunately some of the attacks are ad hominem... but where they aren't I suggest you examine very carefully both sides of the story. The message in this book is still pertinent enough, even if the proposed solution isn't.
(if you would like to read more on Koestler, read my review and others, about Cesarani's biography of him on this site)

72 of 80 people found the following review helpful.
Pride covetousness lust anger gluttony envy & selfishness?
By Imaginary Albums
�A man coins not a new word without some peril; for if it happens to be received, the praise is but moderate; if refused, the scorn is assured.�
So wrote Ben Jonson, and so quoted Arthur Koestler on page 48 of his The Ghost in the Machine (1967). Koestler inserted the quotation to express the uneasiness he felt at suggesting a neologism. The very useful word he coined��holon��seems to have gone tragically underappreciated, while Koestler has, I suspect, not received much in the way of scorn for his impudence (at least in this respect). Jonson was wrong. A man coins not a new word without some peril, it�s true. But the nature of the peril is this: if it happens to be received, the praise is but moderate; if refused, the coiner gets not even scorn.
What is a holon? Coined from the Greek holos (whole) and the diminutive suffix -on (after the pattern of proton, electron, etc.), the term holon �may be applied to any stable biological or social sub-whole which displays rule-governed behavior.� Koestler writes:
Parts and wholes in an absolute sense do not exist in the domain of life.... The organism is to be regarded as a multi-leveled hierarchy of semi-autonomous sub-wholes, branching into sub-wholes of a lower order, and so on. Sub-wholes on any level of the hierarchy are referred to as holons. Biological holons are self-regulating open systems which display both the autonomous properties of wholes and the dependent properties of parts. This dichotomy is present on every level of every type of hierarchic organization, and is referred to as the Janus Effect.... The concept of holon is intended to reconcile the atomistic and holistic approaches. (Appendix I.1; scrambled somewhat for conciseness.)
The first third of Koestler�s book, the section titled �Order,� is dedicated to the concept of the holon, and his introduction to open hierarchic system theory. The versatility and universality of the holon concept should have guaranteed its entry into the language. Its prevalence in all ordered, i.e. hierarchic, systems, and particularly biological organisms, Koestler illustrates through the parable of the two watchmakers, Mekhos and Bios. Their watches are of equal quality and of equal complexity (a thousand pieces each) but their methods of production differ. Bios builds durable sub-units of ten pieces each, ten of which can be joined together to create a secure sub-assembly of one-hundred pieces�and ten sub-assemblies, of course, make one complete watch. Mekhos, on the other hand, adds one piece at a time, seriatim; as such, any interruption requires him to start afresh. Bios�s method is clearly superior not just because an interruption will only set him back, at most, nine steps (versus Mekhos�s possible 999), but because Bios�s watches will tend to be much sturdier than Mekhos�s. �It is easy to show mathematically that if a watch consists of a thousand bits, and if some disturbance occurs at an average of once in every hundred assembling operations�then Mekhos will take four thousand times longer to assemble a watch than Bios. Instead of a single day, it will take him eleven years.� Consequently, Bios�s business thrives, while Mekhos barely manages to scrape by.
Biological systems (Bios), in other words, are not just vortices of chance patterns constrained by deterministic mechanical laws (Mekhos); they are hierarchic systems made up of Janus-faced, quasi-independent holons. In �Becoming,� the second part of the book, Koestler discusses evolution in holarchic terms, citing organelles (e.g. mitochondria) and homologous organs (e.g. the human arm and the bird�s wing) as examples of evolutionary holons�sub-units which appear, with striking similarity, across countless discrete species. Just as nearly every company has an IT department, every cell has chemical power plants which extract energy from food. And just as automobile designers do not overhaul but rather perform variations on basic components such as the engine, chassis, or suspension system, evolution progresses by making small changes to existing tried and true mechanisms�the arm of the human, the wing of the bird, the leg of the dog, and the flipper of the seal, however different in appearance or function, are all made of bones, muscles, and blood vessels.
This tendency to recycle old parts has its risks as well as its obvious benefits, however. The legacy systems don�t always interact smoothly with the enhancements. This is essentially the thesis of the third part of the book, �Disorder�: that it is not unreasonable to assume that, considering the �explosive rate of the brain�s development, which so widely overshot its mark, something may have gone wrong ... More precisely, that the lines of communication between the very old and the brand-new structures were not developed sufficiently to guarantee their harmonious interplay, the hierarchic co-ordination of instinct and intelligence.�
In short, Koestler blames the dominance of instinct over intellect�the latter�s subservience to the former as physiologically manifest in the neocortex�s subjection to the brain�s more reptilian limbic systems�for not only humanity�s spectacular social and moral cataclysms, but the halting, erratic progress of science as well. The �passionate neighing of affect-based beliefs� prevent us from listening to the voice of reason. This is why all moral exhortation, all efforts of persuasion by reasoned argument, are doomed to failure; they
rely on the implicit assumption that homo sapiens, though occasionally blinded by emotion, is a basically rational animal, aware of the motives of his own actions and beliefs�an assumption which is untenable in the light of both historical and neurological evidence. All such appeals fall on barren ground; they could take root only if the ground were prepared by a spontaneous change in human mentality all over the world�the equivalent of a major biological mutation.
The solution to our predicament is sketched out and advocated by Koestler in the final few pages of The Ghost in the Machine; it is, to put it succinctly, a pharmacological one. Readers will bristle at the contentious, and some might say contemptible, declaration that mankind�s only hope for long-term survival is through medication, but to me the answer seems logical enough. If we agree that something has gone awry in our phylogenetic development, and it seems an anodyne enough hypothesis, then nothing short of �tampering with human nature� can rectify the pathology of our species, which has been so garishly demonstrated in holocaust after holocaust. And as Koestler is himself quick to point out, we tamper with our nature every day, and have done so �ever since the first hunter wrapped his shivering frame into the hide of a dead animal.� It could be argued that part of our problem has been tampering: Pasteur et al. tampered on a microscopic level, and with colossal repercussions. No one would seriously propose a voluntary abjuration of antibiotics, however, in order to cull the herd a bit. We can only move forward.
Let�s be explicit: we are considering an overpopulated, irrational, imbalanced species equipped with the ability to manufacture weapons of genosuicidal magnitude�an ability which will not evaporate:
As the devices of atomic and biological warfare become more potent and simpler to produce, their spreading to young and immature, as well as old and over-ripe, nations is inevitable. An invention, once made, cannot be dis-invented; the bomb has come to stay. Mankind has to live with it forever: not merely through the next crisis and the next one, but forever; not through the next twenty or two hundred or two thousand years, but forever. It has become part of the human condition.
�The Promethean myth,� Koestler goes on, �has acquired an ugly twist: the giant reaching out to steal the lightning from the gods is insane.� With this in mind, the advent of a suggestibility-curbing pill��an artificially simulated, adaptive mutation to bridge the rift between the phylogenetically old and new brain, between instinct and intellect, emotion and reason,� to �counteract misplaced devotion and that militant enthusiasm, both murderous and suicidal, which we see reflected in the pages of the daily newspaper��seems relatively benign. We cannot ask people to be more rational, more thoughtful, less susceptible to blind passion, bigotry, murderous devotion.
I sympathize with Koestler�s proposal, but I am pessimistic as to its practicality. And I think he might have overlooked the possibility that suggestibility and subservience to the affect-based beliefs might be the very epoxies holding society together�for better or for worse.
Consider Heinrich Eichmann who, as Koestler observes, �was not a monster or a sadist, but a conscientious bureaucrat, who considered it his duty to carry out his orders and believed in obedience as the supreme virtue; far from being a sadist, he felt physically sick on the only occasion when he watched the Zircon gas at work.� He was, in other words, the perfect cog, a smoothly functioning holon in something larger than himself. He was a good citizen in a bad society. Where exactly does his sin lie? Where his pathology?
�War is a ritual, a deadly ritual, not the result of aggressive self-assertion, but of self-transcending identification. Without loyalty to tribe, church, flag or ideal, there would be no wars; and loyalty is a noble thing.� And Solzhenitsyn wrote:
Ideology�that is what gives evildoing its long-sought justification and gives the evildoer the necessary steadfastness and determination. That is the social theory which helps to make his acts seem good instead of bad in his own and others� eyes, so that he won�t hear reproaches and curses but will receive praise and honors.... Thanks to ideology, the twentieth century was fated to experience evildoing on a scale calculated in the millions. How, then, do we dare insist that evildoers do not exist? And who was it that destroyed these millions?
Perhaps here�s a way of daring to insist that evildoers do not exist: by declaring, instead, that only bureaucrats exist. We could move up the hierarchy and blame everything on its head (Hitler in this case) but frequently the hierarchy has no head�perhaps there is only an amorphous board of directors; perhaps the hierarchy is open-ended�and of course no hierarchy operates in a vacuum, and no hierarchy can function without its sub-holons.
Eichmann, we feel compelled to say, was as culpable as anyone�i.e., fully, or not at all. In him, perhaps, we are given a glimpse of the true nature of contemporary �evil�: conscientious bureaucracy; obedience as the supreme virtue. The integrative tendency, the desire to transcend the self, the desire to belong, to fit in, to function as a part of some larger organization, to serve something larger than the petty ego�this is what stymies intellectual progress and permits wars and pogroms. Death camps cannot be implemented without a stable hierarchic society to carry out the plan; humans cannot exterminate one another on such a cosmic scale without first getting along.
�The self-assertive behaviour of the group is based on the self-transcending behaviour of its members, which often entails sacrifice of personal interests and even of life in the interest of the group. To put it simply: the egotism of the group feeds on the altruism of its members.� This is the most important revelation in Koestler�s book: that the virtuous, self-denying, self-transcending, integrative urges are far more dangerous than the self-assertive ones.
And this urge to integrate, to belong, to blindly submit to the rules of the social holon you belong to, is the warp and the woof of the fabric of society. It may well be instinctual�it may well be written in our genes�because it is implicit, inescapable, a necessity in any hierarchic system. The human individual is truly Janus-faced because his or her self-assertive and integrative inclinations are at odds, true, but also mutually dependent. To do what�s best for your group is in fact what�s best for you; self-surrender is self-preservation. If the body dies, so do all of its cells.
What would we have had Eichmann do? We fancy that we can imagine a scenario in which his refusal to administrate the death camps (a pang of conscience prompted, in our thought experiment, by Koestler�s Pill, perhaps) might have made some difference. �He could have conscientiously objected,� we say from the smug safety of our armchair. And then what? He probably would have been exterminated, and someone with less compunctions, someone with a stronger desire to fit in, put in his place.
Hegel has said that �What experience and history teach us is this�that people and governments have never learned anything from history, or acted on principles deduced from it.� If this is true, it is probably unnecessary to pose this question: Have any of us learned anything from, for example, the Holocaust? How would we, as people or governments, prevent a repeat? We glibly take it for granted that nothing so horrific, and in so recent memory, can have failed to make us a little more jaded, a little less na�ve, a little less susceptible to mass hysteria or national insanity�and we leave it at that. Here�s all we�ve really learned: Nazis�bad. Hitler�real bad. Case closed. But of course the next Nazis will not call themselves Nazis; the next Hitler won�t have the mustache.
What we should have learned, perhaps, is that our suggestibility needs to be curbed; that each of us has an obligation to be extremely careful about which holons we allow ourselves to be subsumed by; that our integrative tendencies need to be reined and restrained. Before we resort to pharmacology, we should presumably attempt education. So maybe we should be indoctrinating our children with the belief that blindly accepting indoctrination can be disastrous. �Oh. You see the problem.
Koestler�s Pill, or any equivalent thereof, might well dissolve society. If we were properly critical, properly rational, all the time, if we took nothing on faith, we would never learn. The paradox is that the march of science is founded on credulity. Specialization, which has become more or less prerequisite to progress in any field, is a hierarchic branching out and narrowing down of knowledge. If every generation of physicists had to rediscover the electron, no one would have ever got to the quark; if I paused to evaluate, to impugn, to prove every one of the �statements of fact� I�ve received from parents and professors, television and textbooks, over the course of my lifetime I would probably never have graduated from high school. In fact I am critical of very little. How could I afford to be? We stand like Newton on the shoulders of giants but only because we trust the giants enough to get up on their shoulders�when of course they could dash us to the earth if they so desired. Jacob Empson has written (in Sleep and Dreaming):
Rather than modern Western beliefs being less mystic than those in antiquity, or in underdeveloped communities, they seem equally if not more so than some. It could be argued that the very incomprehensibility of the modern world has made us even more credulous. Many of the quite commonplace products of modern technology might as well be magic, for all that any normal person could be expected to understand how they work.
The human race is an unfathomably complex network of overlapping open-ended hierarchies; it is a juggernaut trundling forth, with no one at the helm.
And so too is each one of us. How can it be otherwise?
This is one of the best books I've read in a while. Koestler's erudition, humanity, and prose are nonpareil. Read it and make up your own mind -- it's your moral imperative.

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