Author: Cap Lesesne File Type: epub All that you ever wanted to know and never imagined about what goes on behind-the-scenes at one of the worlds most prestigious plastic surgeons office. I dont care if I die, she said. I waited my whole life to look good. Im not going one more day looking the way I do ... if Im not happy, nothing else matters. What is it that drives women, and men, to the extreme measure of cosmetic surgery? People are popping out for botox in their lunch breaks, face-lifts before job reviews, breast implants before dates, and liposuction before just about any major event. From the living room to the boardroom to the catwalk, even the most successful and beautiful men and women are paying to go under the surgeons knife. And the obsession just keeps on growing! Cap Lesesne, one of the worlds most sought-after and respected cosmetic surgeons, has seen them all. Hes worked on queens, models, executives and housewives, turned a man into Elvis, been threatened by a Venezuelan oil magnate whose penis turned black and has been asked to implant breasts onto a transexuals back. He travels around the world, calls royalty and glitterati his friends, and can claim to have both saved and destroyed hundreds of relationships with his life-altering fingers. In this timely part-autobiography, part-expose, Cap reveals what life is like as the fairy-godfather with a scalpel, what it is that drives different people around the world to go under the surgeons knife, and the secret tell-tale signs of a post-op patient, as well as hundreds of real-life examples of the people he has worked on, from the urbane to the truly bizarre. Cap also reveals what it was that made him choose to take up the profession that is most sneered on in surgical circles and how his choice of profession has altered the way he looks at the world around him. Exciting, revealing and always cutting-edge, CONFESSIONS OF A PARK AVENUE PLASTIC SURGEON puts an astonishing new face on one of the worlds fastest growing trends.

Author: Stephen T. Asma File Type: pdf Consider Miles Davis, horn held high, sculpting a powerful musical statement full of tonal patterns, inside jokes, and thrilling climactic phrasesall on the fly. Or think of a comedy troupe riffing on a couple of cues from the audience until the whole room is erupting with laughter. Or maybe its a team of software engineers brainstorming their way to the next Google, or the Einsteins of the world code-cracking the mysteries of nature. Maybe its simply a child playing with her toys. What do all of these activities share? With wisdom, humor, and joy, philosopher Stephen T. Asma answers that question in this book imagination. And from there he takes us on an extraordinary tour of the human creative spirit. Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativitythe source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience and help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by what-ifs, almosts, and maybes, an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. **Review This is a terrific book. It is a grand, expansive journey through the central role of improvisation and imagination in everything we experience, think, and do. Asma shows how our marvelous capacity for improvisationfrom knapping flint to childhood play to dancing to musical performance to creative science, philosophy, and artis grounded in our embodied capacities for perception, bodily movement, emotion, and imagination. To support and develop his comprehensive analysis of how we humans came to be improvisers and how this developed into our most impressive creative activities, Asma draws masterfully on anthropology, genetics, biology, neuroscience, developmental psychology, cognitive psychology, and embodied cognition studies. (Mark Johnson, author of Morality for Humans) This book is appealing in that it does not link creativity with marketing or business innovation, as is currently fashionable, but rather with the nature of artistic endeavor itself and with our understanding of how the mind works. Asma combines his expertise as a jazz performer and philosopher to argue that mental activity, especially in improvisation, is not a matter of symbolic processing, but is rather a matter of emotional reaction and sensory experience. Asma accessibly places familiar arguments from cognitive science within the context of artistic creativity. (Michael Corballis, author of The Truth about Language What It Is and Where It Came From) About the Author Stephen T. Asmais Distinguished Scholar and professor of philosophy in the Department of Humanities as well as Fellow of the Research Group in Mind, Science, and Culture at Columbia College Chicago. He is the author of numerous books, includingStuffed Animals and Pickled Heads, The Gods Drink Whiskey, On Monsters,and Against Fairness, the latter also published by the University of Chicago Press.

Author: Ralph Dekoninck File Type: pdf Aux limites de limitation pose une question audacieuse que les innombrables etudes existantes sur lut pictura poesis a lage classique ont eu tendance a laisser dans lombre celle de la matiere comme limite de limitation, suivant lhypothese selon laquelle le surgissement du materiel est a lorigine du delitement de lut pictura poesis au cours de lage classique. Les etudes reubies ici abordent cette question pour lensemble de lage classique (allant du XVI a la fin du XVIII siecle) ainsi que pour les principaux domaines artistiques que lon peut distinguer (litterature, peinture, sculpture, musique, danse).Ralph Dekoninck est professeur dhistoire de lart a lUniversite catholique de Louvain et specialiste des theories de limage et de lart des xvi et XVII siecles. Agnes Guiderdoni-Brusle est chercheure qualifiee du F.N.R.S. et professeure a lUniversite catholique de Louvain, specialiste de litterature francaise du XVII siecle et demblematique. Nathalie Kremer est chargee de recherches du Fonds de la Recherche Scientifique - Flandre (FWO) a la Katholieke Universiteit Leuven et specialiste de lesthetique classique.

Author: Richard Harries File Type: pdf The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of the break, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.** The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of athe breaka, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent. **