What will emerge when we are all thankful for what we have instead of upset about what we don't is a society that works and does what's best for all its inhabitants. Injustice, racism, evil and all bad energy will become so insignificant, that we will laugh at what a distant memory it was. We have the power. We have always had the power. We must open our eyes, minds and our hearts and get to work. Like the old saying that goes, "doing what we love is like being on vacation everyday," when we start bringing humanity, accountability and truth to ourselves so all of us achieve our dreams, it will be like second nature. We will wonder how we ever got along before.
Distractions are all around us and come from all directions; some come in the form of pictures, movies or even books that we greatly enjoy, but still keep us from what we were planning. Distractions come from news outlets, talking heads, and what used to be reporters, government and business leaders who are trying to not only add to their bottom lines, but also distract us because they don't want us to know what's really going on and what they're really planning. They figure if we keep fighting amongst ourselves and buying materialistic crap we don't need, we will be pacified, won't see what's really going on, and therefore wouldn't unite and rise up to stop the whole damn thing. Knowing the distractions are out there is the first step. The second step is to decipher the distractions and their root and truthful definitions so we can slow and then end their sinister intentions.
Theatermachine: Tadeusz Kantor in Context is an in-depth, multidisciplinary compendium of essays that examine Kantor’s work through the prism of postmemory and trauma theory and in relation to Polish literature, Jewish culture, and Yiddish theater as well as the Japanese, German, French, Polish, and American avant-garde. Hans-Thies Lehmann’s theory of postdramatic theater and contemporary developments in critical theory—particularly Bill Brown’s thing theory, Bruno Latour’s actor network theory, and posthumanism—provide a previously unavailable vocabulary for discussion of Kantor’s theater.
This book confronts the failings of current global economics to deliver the equity, sustainability and community empowerment which humanity now needs to handle a troubled future. The volume proposes an economy built from our society, not the other way around. The Kyoto Manifesto was built, layer by layer, over a period of 4 years, based on broad-ranging international symposia held in Kyoto between 2014 and 2017, hosted by the Center for the Creative Economy, Doshisha University. Not stopping at theory and untested ideas however, the Manifesto proposes practical action that will make a difference, including in the problematic technological and ecological context of humanity’s immediate and long-term future. The book is unique and innovative for it moves adventurously across very broad territory. The Manifesto draws from world philosophic arguments, including, specifically, a critique of “liberalism”, further, exploring sociology, cultural anthropology, politics, primatology and early humanity, even quantum physics. Argument is set within mainstream post-1972 economics and political economics as well as direct practical experience working to empower disadvantaged communities through the United Nations. Most importantly, the book’s analysis is deeply informed by the practice of searching for what is “sacred”, the ultimate essence of our humanity, what we can be as a human race—empowered, fulfilled individuals, deeply sharing and caring for each other across our separate cultures and lives. Stomu Yamash’ta’s On Zen performances, set the context for the Symposia, bringing different religions and cultures together across their dividing boundaries into a coherent search for peace and harmony through sacred music. Informed by alternate cultural paradigms for economics, the book probes deeply into philosophies and practices that already exist within Eastern and Western societies, and offer lessons for our future. The result is an economics that stresses harmony with nature, and balance in social relations. It places an emphasis on community—human sharing and trust—as a platform for our future, not separate from the global economy but integrated into its very foundations. This is a book for all who care: a plan for our sustainable future built from the best of what our humanity is and can offer.
This volume brings together experts in ethnology, anthropology, folklore, sociology and history of art, in order to discuss the varieties or religious expression through ritual performance, empirical ethnographic analysis and sensory modes of perception. The primary goal of the book is to re-centralize the importance of expressing religion through performance, art and the senses, and to approach performative action as religion in a variety of sociocultural, historical, political and spiritual contexts. The authors in this volume examine, in distinct yet convergent ways, how religion is creatively expressed, ritually performed and sensorially experienced at present and/or in the past. The significance of this book lies exactly on the richness and diversity of expressions of religion that are presented here, and on the multi-disciplinary dialogue that is generated among diverse theoretical, analytical and methodological approaches.
Man has long searched for the cause and meaning of mental illness. This book, which is a combination of the author's earlier books (Volumes One and Two) continues in his attempt to answer those questions. The author/compiler has spent 47 years investigating these problems and his conclusion is that severe unconscious bisexual conflict and confusion lie at the root of all mental illness, as difficult to comprehend as this idea may be. The book itself consists of 790 quotations, from a variety of sources, all of which point to the unshakable truth of this hypothesis. This is a fixed law of nature, unassailable and constantly operative in every case. No other species but man is afflicted with mental illness because no other species has either the intellectual power to repress their sexual feelings nor the motivation to do so. The disease we call "schizophrenia" is but an arbitrary name, which is used to designate the end-stage of a process beginning with a slight neurosis. The more severe the bisexual conflict and confusion in the individual, the more severe the degree of the mental illness which is experienced. Several other investigators in the past have reached this same conclusion, but unfortunately their wisdom went largely unheeded. Hopefully this book will remedy that ill-advised neglect.
'The recent publication of a new edition of the American Diagnostic and Statistical manual (DSM-5) highlighted the two contrary viewpoints that exist within the field of mental health. There are those who value such classification systems, seeing each revision of the DSM as a fine-tuning exercise, and there are those who are strongly opposed, seeing such exercises as fundamentally flawed. 'Madness Cracked' provides a fascinating introduction to the history of psychiatry and clinical psychology, looking at how these areas have attempted to classify the various problems and disorders that their practitioners have faced in everyday use. Within the book, Power argues that - like in other areas of science - progress can only be made if the classification systems that are used have a sound theoretical basis. In addition, he outlines a model derived from work on cognition and emotion showing how, with appropriate modifications, it could provide a theoretical basis for classification and diagnosis. Using extraordinary examples from the history of psychiatry and clinical psychology, along with fascinating case material, he shows how our current knowledge in psychology can be developed to provide the theoretical basis that the field needs. For anyone in the field of mental health, Madness Cracked is a thought-provoking and controversial new book.'
An invaluable collection of documents and discussions of the work of one of the most significant theatre practitioners of the last fifty years. This unique set of reminiscences, written by one of the actors who worked closely with Kantor over a long period of time, ranges from the anecdotal to the theoretical. Kantor's work offers some of the most disconcerting allegories of Modernism and a quintessential expression of the unconscious during a bitter period of human history. Kantor's stern but affectionate guardianship of his troupe of travelling players comes off Miklaszewski's pages with warmth, humanity and humour.
