mind, brain and human potentialby brian lancaster
TRANSCRIPT
Leonardo
Mind, Brain and Human Potential by Brian LancasterReview by: John CooperLeonardo, Vol. 25, No. 2 (1992), p. 225Published by: The MIT PressStable URL: http://www.jstor.org/stable/1575729 .
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as long as they are 'on-line'. With writ- ten technologies, communication is viewed as the sending of a message from sender to receiver. In classical communication theory, the meaning of a message is illuminated by its con- text. The author argues that with hy- pertext technologies, the effect of a
message is to alter, complicate, cor- rect a network of hypertext intercon- nections and to create new intercon- nections in an existing hypertext. Rather than coding and decoding of messages, we deal with associations and dissociations of networks that pro- vide meaning through their overall structures. In addition, the author
provides, with chapters elaborating these ideas, a brief, clear and accu- rate history of hypertext beginning with Vannevar Bush's article in a 1945 issue of Atlantic Monthly. The book is in French.
MIND, BRAIN AND HUMAN POTENTIAL by Brian Lancaster. Element Books, Dorset, U.K., 1991. 240 pp., illus.
Paper, ?9.99. ISBN: 1-85230-209-7.
Reviewed by John Cooper, Pergamon Press, Headington Hill Hall, Oxford, OX3 OBW, U.K
A synthesis of modern psychology and mysticism (mainly, but not exclu-
sively, Hebrew) may seem improbable, even, to a degree, fantastic. Yet Lan- caster's ideas-in this book, at least- are neither; but to a non-mystic the whole concept of mixing science and
religion is a bizarre retrograde step. Nevertheless, this book does contain a lot of good science and many valua- ble insights; but the shades of mysti- cism and religion lurk on every page, ready to pounce at even the tiniest flutter of scientific uncertainty. If other readers accept, as I do, that science is open-ended, willing to be
persuaded by further evidence, and that (all) religion is closed, complete in itself, bastioned by dogma, ac-
cepting change only as an expedient of survival, then this book is not for them. On the other hand, if the com- forts of the supernatural are wel- come, then Lancaster's odd mix of science and religion may well be to the reader's taste.
as long as they are 'on-line'. With writ- ten technologies, communication is viewed as the sending of a message from sender to receiver. In classical communication theory, the meaning of a message is illuminated by its con- text. The author argues that with hy- pertext technologies, the effect of a
message is to alter, complicate, cor- rect a network of hypertext intercon- nections and to create new intercon- nections in an existing hypertext. Rather than coding and decoding of messages, we deal with associations and dissociations of networks that pro- vide meaning through their overall structures. In addition, the author
provides, with chapters elaborating these ideas, a brief, clear and accu- rate history of hypertext beginning with Vannevar Bush's article in a 1945 issue of Atlantic Monthly. The book is in French.
MIND, BRAIN AND HUMAN POTENTIAL by Brian Lancaster. Element Books, Dorset, U.K., 1991. 240 pp., illus.
Paper, ?9.99. ISBN: 1-85230-209-7.
Reviewed by John Cooper, Pergamon Press, Headington Hill Hall, Oxford, OX3 OBW, U.K
A synthesis of modern psychology and mysticism (mainly, but not exclu-
sively, Hebrew) may seem improbable, even, to a degree, fantastic. Yet Lan- caster's ideas-in this book, at least- are neither; but to a non-mystic the whole concept of mixing science and
religion is a bizarre retrograde step. Nevertheless, this book does contain a lot of good science and many valua- ble insights; but the shades of mysti- cism and religion lurk on every page, ready to pounce at even the tiniest flutter of scientific uncertainty. If other readers accept, as I do, that science is open-ended, willing to be
persuaded by further evidence, and that (all) religion is closed, complete in itself, bastioned by dogma, ac-
cepting change only as an expedient of survival, then this book is not for them. On the other hand, if the com- forts of the supernatural are wel- come, then Lancaster's odd mix of science and religion may well be to the reader's taste.
as long as they are 'on-line'. With writ- ten technologies, communication is viewed as the sending of a message from sender to receiver. In classical communication theory, the meaning of a message is illuminated by its con- text. The author argues that with hy- pertext technologies, the effect of a
message is to alter, complicate, cor- rect a network of hypertext intercon- nections and to create new intercon- nections in an existing hypertext. Rather than coding and decoding of messages, we deal with associations and dissociations of networks that pro- vide meaning through their overall structures. In addition, the author
provides, with chapters elaborating these ideas, a brief, clear and accu- rate history of hypertext beginning with Vannevar Bush's article in a 1945 issue of Atlantic Monthly. The book is in French.
MIND, BRAIN AND HUMAN POTENTIAL by Brian Lancaster. Element Books, Dorset, U.K., 1991. 240 pp., illus.
Paper, ?9.99. ISBN: 1-85230-209-7.
Reviewed by John Cooper, Pergamon Press, Headington Hill Hall, Oxford, OX3 OBW, U.K
A synthesis of modern psychology and mysticism (mainly, but not exclu-
sively, Hebrew) may seem improbable, even, to a degree, fantastic. Yet Lan- caster's ideas-in this book, at least- are neither; but to a non-mystic the whole concept of mixing science and
religion is a bizarre retrograde step. Nevertheless, this book does contain a lot of good science and many valua- ble insights; but the shades of mysti- cism and religion lurk on every page, ready to pounce at even the tiniest flutter of scientific uncertainty. If other readers accept, as I do, that science is open-ended, willing to be
persuaded by further evidence, and that (all) religion is closed, complete in itself, bastioned by dogma, ac-
cepting change only as an expedient of survival, then this book is not for them. On the other hand, if the com- forts of the supernatural are wel- come, then Lancaster's odd mix of science and religion may well be to the reader's taste.
as long as they are 'on-line'. With writ- ten technologies, communication is viewed as the sending of a message from sender to receiver. In classical communication theory, the meaning of a message is illuminated by its con- text. The author argues that with hy- pertext technologies, the effect of a
message is to alter, complicate, cor- rect a network of hypertext intercon- nections and to create new intercon- nections in an existing hypertext. Rather than coding and decoding of messages, we deal with associations and dissociations of networks that pro- vide meaning through their overall structures. In addition, the author
provides, with chapters elaborating these ideas, a brief, clear and accu- rate history of hypertext beginning with Vannevar Bush's article in a 1945 issue of Atlantic Monthly. The book is in French.
MIND, BRAIN AND HUMAN POTENTIAL by Brian Lancaster. Element Books, Dorset, U.K., 1991. 240 pp., illus.
Paper, ?9.99. ISBN: 1-85230-209-7.
Reviewed by John Cooper, Pergamon Press, Headington Hill Hall, Oxford, OX3 OBW, U.K
A synthesis of modern psychology and mysticism (mainly, but not exclu-
sively, Hebrew) may seem improbable, even, to a degree, fantastic. Yet Lan- caster's ideas-in this book, at least- are neither; but to a non-mystic the whole concept of mixing science and
religion is a bizarre retrograde step. Nevertheless, this book does contain a lot of good science and many valua- ble insights; but the shades of mysti- cism and religion lurk on every page, ready to pounce at even the tiniest flutter of scientific uncertainty. If other readers accept, as I do, that science is open-ended, willing to be
persuaded by further evidence, and that (all) religion is closed, complete in itself, bastioned by dogma, ac-
cepting change only as an expedient of survival, then this book is not for them. On the other hand, if the com- forts of the supernatural are wel- come, then Lancaster's odd mix of science and religion may well be to the reader's taste.
THE MISSING REE.: THE UNTOLD STORY OF THE LOST INVENTOR OF MOVING PICTURES by Christopher Lawrence. Atheneum, New York, NY, 1990. 306 pp. ISBN: 0-689-12068-0.
Reviewed by Roger F. Malina, Center for EUVAstrophysics, 2150 Kittredge St., University of California, Berkeley, CA 94720, U.S.A.
This book details the contributions of
Augustin Le Prince to the develop- ment of the film camera and film pro- jector during the 1880s. Le Prince was probably the first to demonstrate the use of a single lens camera, in October 1888, in his studio in Leeds, Yorkshire, England. His influence on
subsequent developments was, how- ever, curtailed by his mysterious and still unexplained disappearance on a
Dijon-Paris, France, train trip in Sep- tember 1890. This book details Le Prince's technical contributions, as well as the attempts of his widow and descendants to secure public credit and acknowledgment for Le Prince's role in the development of moving pictures. Lawrence makes clear that in the 1880s a number of inventors and individual technical develop- ments ultimately led to functioning film cameras and projectors. These inventors included Muybridge, the Lumiere Brothers, Marey,John Car- butt and Friese-Greene. However, in the United States it is Thomas Edison who often receives credit for the
major role, credit that Lawrence shows to be unmerited. At the time of the crucial developments in film tech-
nology, Edison was already a world- renowned inventor, and his resources allowed him not only to keep abreast of developments internationally, but
through his team of patent lawyers to accrue to himself the legal rights for
development and commercialization of ideas by others who did not have his financial and legal resources.
This book provides a fascinating insight into the development of a key technology as well as the social con- text of its development. Augustin Le
THE MISSING REE.: THE UNTOLD STORY OF THE LOST INVENTOR OF MOVING PICTURES by Christopher Lawrence. Atheneum, New York, NY, 1990. 306 pp. ISBN: 0-689-12068-0.
Reviewed by Roger F. Malina, Center for EUVAstrophysics, 2150 Kittredge St., University of California, Berkeley, CA 94720, U.S.A.
This book details the contributions of
Augustin Le Prince to the develop- ment of the film camera and film pro- jector during the 1880s. Le Prince was probably the first to demonstrate the use of a single lens camera, in October 1888, in his studio in Leeds, Yorkshire, England. His influence on
subsequent developments was, how- ever, curtailed by his mysterious and still unexplained disappearance on a
Dijon-Paris, France, train trip in Sep- tember 1890. This book details Le Prince's technical contributions, as well as the attempts of his widow and descendants to secure public credit and acknowledgment for Le Prince's role in the development of moving pictures. Lawrence makes clear that in the 1880s a number of inventors and individual technical develop- ments ultimately led to functioning film cameras and projectors. These inventors included Muybridge, the Lumiere Brothers, Marey,John Car- butt and Friese-Greene. However, in the United States it is Thomas Edison who often receives credit for the
major role, credit that Lawrence shows to be unmerited. At the time of the crucial developments in film tech-
nology, Edison was already a world- renowned inventor, and his resources allowed him not only to keep abreast of developments internationally, but
through his team of patent lawyers to accrue to himself the legal rights for
development and commercialization of ideas by others who did not have his financial and legal resources.
This book provides a fascinating insight into the development of a key technology as well as the social con- text of its development. Augustin Le
THE MISSING REE.: THE UNTOLD STORY OF THE LOST INVENTOR OF MOVING PICTURES by Christopher Lawrence. Atheneum, New York, NY, 1990. 306 pp. ISBN: 0-689-12068-0.
Reviewed by Roger F. Malina, Center for EUVAstrophysics, 2150 Kittredge St., University of California, Berkeley, CA 94720, U.S.A.
This book details the contributions of
Augustin Le Prince to the develop- ment of the film camera and film pro- jector during the 1880s. Le Prince was probably the first to demonstrate the use of a single lens camera, in October 1888, in his studio in Leeds, Yorkshire, England. His influence on
subsequent developments was, how- ever, curtailed by his mysterious and still unexplained disappearance on a
Dijon-Paris, France, train trip in Sep- tember 1890. This book details Le Prince's technical contributions, as well as the attempts of his widow and descendants to secure public credit and acknowledgment for Le Prince's role in the development of moving pictures. Lawrence makes clear that in the 1880s a number of inventors and individual technical develop- ments ultimately led to functioning film cameras and projectors. These inventors included Muybridge, the Lumiere Brothers, Marey,John Car- butt and Friese-Greene. However, in the United States it is Thomas Edison who often receives credit for the
major role, credit that Lawrence shows to be unmerited. At the time of the crucial developments in film tech-
nology, Edison was already a world- renowned inventor, and his resources allowed him not only to keep abreast of developments internationally, but
through his team of patent lawyers to accrue to himself the legal rights for
development and commercialization of ideas by others who did not have his financial and legal resources.
This book provides a fascinating insight into the development of a key technology as well as the social con- text of its development. Augustin Le
THE MISSING REE.: THE UNTOLD STORY OF THE LOST INVENTOR OF MOVING PICTURES by Christopher Lawrence. Atheneum, New York, NY, 1990. 306 pp. ISBN: 0-689-12068-0.
Reviewed by Roger F. Malina, Center for EUVAstrophysics, 2150 Kittredge St., University of California, Berkeley, CA 94720, U.S.A.
This book details the contributions of
Augustin Le Prince to the develop- ment of the film camera and film pro- jector during the 1880s. Le Prince was probably the first to demonstrate the use of a single lens camera, in October 1888, in his studio in Leeds, Yorkshire, England. His influence on
subsequent developments was, how- ever, curtailed by his mysterious and still unexplained disappearance on a
Dijon-Paris, France, train trip in Sep- tember 1890. This book details Le Prince's technical contributions, as well as the attempts of his widow and descendants to secure public credit and acknowledgment for Le Prince's role in the development of moving pictures. Lawrence makes clear that in the 1880s a number of inventors and individual technical develop- ments ultimately led to functioning film cameras and projectors. These inventors included Muybridge, the Lumiere Brothers, Marey,John Car- butt and Friese-Greene. However, in the United States it is Thomas Edison who often receives credit for the
major role, credit that Lawrence shows to be unmerited. At the time of the crucial developments in film tech-
nology, Edison was already a world- renowned inventor, and his resources allowed him not only to keep abreast of developments internationally, but
through his team of patent lawyers to accrue to himself the legal rights for
development and commercialization of ideas by others who did not have his financial and legal resources.
This book provides a fascinating insight into the development of a key technology as well as the social con- text of its development. Augustin Le Prince and his wife Elizabeth Whitley were both professional artists. They founded the Leeds Technical School of Art in 1876 where, among other ac- tivities, he developed new technology
Prince and his wife Elizabeth Whitley were both professional artists. They founded the Leeds Technical School of Art in 1876 where, among other ac- tivities, he developed new technology
Prince and his wife Elizabeth Whitley were both professional artists. They founded the Leeds Technical School of Art in 1876 where, among other ac- tivities, he developed new technology
Prince and his wife Elizabeth Whitley were both professional artists. They founded the Leeds Technical School of Art in 1876 where, among other ac- tivities, he developed new technology
for firing ceramics on metal and ex-
ploited linoleum as a new material for interior design. Readers of Leonardo will be pleased to find discussions of the need to integrate art and science that took place over 100 years ago, a
good reminder that the issues active
today have a long history. The book is also an unpleasant reminder of how our culture's obsession with the glori- fication of individual inventors inevi-
tably does injustice to the many who contribute their efforts to develop- ment of new technology when it sud-
denly becomes ready for broader ap- plication. The current rewriting of history, the patent and priority battles, and the war of public relations under
way in computer arts and virtual real-
ity systems are cases in point.
THE PHILOSOPHY OF ART by Friedrich Wilhelm Joseph Schelling. Douglas W. Stott, ed. and trans. Univ. of Minnesota Press, Min-
neapolis, MN, U.S.A., 1989. 342 pp. Paper, $17.95. ISBN: 0-500-23570-8.
Reviewed by Elmer H. Duncan, Depart- ment of Philosophy, Baylor University, Waco, TX 76798, U.S.A.
On 27 February 1842, Danish philoso- pher/theologian Soren Kierkegaard wrote a letter from Berlin to his brother in Copenhagen. He wrote:
"Schelling drivels on quite intolerably ... I am too old to attend lectures and Schelling is too old to give them." Readers of the book under re- view will understand how Kierkegaard must have felt.
Friedrich Schelling (1775-1854) was one of those philosophers who did his best work at an early age. His
Systems of Transcendental Idealism was
published in 1800. He gave a series of lectures on the philosophy of art in 1801, and again in 1804, lectures which were not published during his lifetime, though they were well known and often quoted by scholars.
Schelling was 5 years younger than his rival Hegel, but his own theory of 'absolute idealism' was developed and was well known before Hegel pro- duced his best work. Unfortunately, Schelling had personal problems and
for firing ceramics on metal and ex-
ploited linoleum as a new material for interior design. Readers of Leonardo will be pleased to find discussions of the need to integrate art and science that took place over 100 years ago, a
good reminder that the issues active
today have a long history. The book is also an unpleasant reminder of how our culture's obsession with the glori- fication of individual inventors inevi-
tably does injustice to the many who contribute their efforts to develop- ment of new technology when it sud-
denly becomes ready for broader ap- plication. The current rewriting of history, the patent and priority battles, and the war of public relations under
way in computer arts and virtual real-
ity systems are cases in point.
THE PHILOSOPHY OF ART by Friedrich Wilhelm Joseph Schelling. Douglas W. Stott, ed. and trans. Univ. of Minnesota Press, Min-
neapolis, MN, U.S.A., 1989. 342 pp. Paper, $17.95. ISBN: 0-500-23570-8.
Reviewed by Elmer H. Duncan, Depart- ment of Philosophy, Baylor University, Waco, TX 76798, U.S.A.
On 27 February 1842, Danish philoso- pher/theologian Soren Kierkegaard wrote a letter from Berlin to his brother in Copenhagen. He wrote:
"Schelling drivels on quite intolerably ... I am too old to attend lectures and Schelling is too old to give them." Readers of the book under re- view will understand how Kierkegaard must have felt.
Friedrich Schelling (1775-1854) was one of those philosophers who did his best work at an early age. His
Systems of Transcendental Idealism was
published in 1800. He gave a series of lectures on the philosophy of art in 1801, and again in 1804, lectures which were not published during his lifetime, though they were well known and often quoted by scholars.
Schelling was 5 years younger than his rival Hegel, but his own theory of 'absolute idealism' was developed and was well known before Hegel pro- duced his best work. Unfortunately, Schelling had personal problems and
for firing ceramics on metal and ex-
ploited linoleum as a new material for interior design. Readers of Leonardo will be pleased to find discussions of the need to integrate art and science that took place over 100 years ago, a
good reminder that the issues active
today have a long history. The book is also an unpleasant reminder of how our culture's obsession with the glori- fication of individual inventors inevi-
tably does injustice to the many who contribute their efforts to develop- ment of new technology when it sud-
denly becomes ready for broader ap- plication. The current rewriting of history, the patent and priority battles, and the war of public relations under
way in computer arts and virtual real-
ity systems are cases in point.
THE PHILOSOPHY OF ART by Friedrich Wilhelm Joseph Schelling. Douglas W. Stott, ed. and trans. Univ. of Minnesota Press, Min-
neapolis, MN, U.S.A., 1989. 342 pp. Paper, $17.95. ISBN: 0-500-23570-8.
Reviewed by Elmer H. Duncan, Depart- ment of Philosophy, Baylor University, Waco, TX 76798, U.S.A.
On 27 February 1842, Danish philoso- pher/theologian Soren Kierkegaard wrote a letter from Berlin to his brother in Copenhagen. He wrote:
"Schelling drivels on quite intolerably ... I am too old to attend lectures and Schelling is too old to give them." Readers of the book under re- view will understand how Kierkegaard must have felt.
Friedrich Schelling (1775-1854) was one of those philosophers who did his best work at an early age. His
Systems of Transcendental Idealism was
published in 1800. He gave a series of lectures on the philosophy of art in 1801, and again in 1804, lectures which were not published during his lifetime, though they were well known and often quoted by scholars.
Schelling was 5 years younger than his rival Hegel, but his own theory of 'absolute idealism' was developed and was well known before Hegel pro- duced his best work. Unfortunately, Schelling had personal problems and
for firing ceramics on metal and ex-
ploited linoleum as a new material for interior design. Readers of Leonardo will be pleased to find discussions of the need to integrate art and science that took place over 100 years ago, a
good reminder that the issues active
today have a long history. The book is also an unpleasant reminder of how our culture's obsession with the glori- fication of individual inventors inevi-
tably does injustice to the many who contribute their efforts to develop- ment of new technology when it sud-
denly becomes ready for broader ap- plication. The current rewriting of history, the patent and priority battles, and the war of public relations under
way in computer arts and virtual real-
ity systems are cases in point.
THE PHILOSOPHY OF ART by Friedrich Wilhelm Joseph Schelling. Douglas W. Stott, ed. and trans. Univ. of Minnesota Press, Min-
neapolis, MN, U.S.A., 1989. 342 pp. Paper, $17.95. ISBN: 0-500-23570-8.
Reviewed by Elmer H. Duncan, Depart- ment of Philosophy, Baylor University, Waco, TX 76798, U.S.A.
On 27 February 1842, Danish philoso- pher/theologian Soren Kierkegaard wrote a letter from Berlin to his brother in Copenhagen. He wrote:
"Schelling drivels on quite intolerably ... I am too old to attend lectures and Schelling is too old to give them." Readers of the book under re- view will understand how Kierkegaard must have felt.
Friedrich Schelling (1775-1854) was one of those philosophers who did his best work at an early age. His
Systems of Transcendental Idealism was
published in 1800. He gave a series of lectures on the philosophy of art in 1801, and again in 1804, lectures which were not published during his lifetime, though they were well known and often quoted by scholars.
Schelling was 5 years younger than his rival Hegel, but his own theory of 'absolute idealism' was developed and was well known before Hegel pro- duced his best work. Unfortunately, Schelling had personal problems and his early fame faded, while Hegel's reputation grew. He resented Hegel's success. Schelling's career was in de- cline by 1809, though he continued to lecture through the 1840s, when
his early fame faded, while Hegel's reputation grew. He resented Hegel's success. Schelling's career was in de- cline by 1809, though he continued to lecture through the 1840s, when
his early fame faded, while Hegel's reputation grew. He resented Hegel's success. Schelling's career was in de- cline by 1809, though he continued to lecture through the 1840s, when
his early fame faded, while Hegel's reputation grew. He resented Hegel's success. Schelling's career was in de- cline by 1809, though he continued to lecture through the 1840s, when
Current Literature 225 Current Literature 225 Current Literature 225 Current Literature 225
This content downloaded from 194.29.185.216 on Thu, 12 Jun 2014 13:33:13 PMAll use subject to JSTOR Terms and Conditions