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Famed tantric practitioner and teacher Margot Anand has led a life of spiritual bliss and erotic ecstasy. This book recounts the fascinating adventures, turning points, and breakthroughs on her path from sex to awakening, and it includes techniques and exercises to help you connect to the powerful energy of the erotic spirit.

  • Sales Rank: #691234 in Books
  • Published on: 2017-01-08
  • Original language: English
  • Dimensions: .0" h x .0" w x .0" l, .0 pounds
  • Binding: Paperback
  • 360 pages

About the Author

Margot Anand is the bestselling author of five books on sexual tantra. Her groundbreaking book The Art of Sexual Ecstasy (Tarcher, Putnam) has been published in fifteen countries. Margot has been a guest on CNN, ABC, Nightline, and major TV and radio in ten countries. She has appeared in international press and magazines including Time, Elle, and Cosmopolitan. Margot has been on the teaching faculty of Dr. Deepak Chopra's programs, and has worked with Tony Robbins' couples’ programs, Dr. Dean Ornish (nutritionist of President and Mrs. Clinton at the White House), and the Omega Institute.

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Minggu, 25 Juli 2010

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Fantasy Art Techniques, by Boris Vallejo

In a captivating, behind-the-scenes look into the creative process of a fantasy artist, renowned artist Boris Vallejo discusses in depth the techniques of a personal style that has placed him among the leading international fantasy and science fiction artists of today. 91 color images; 32 line drawings.

  • Sales Rank: #5970424 in Books
  • Published on: 1985-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.06" h x 8.27" w x .0" l, 1.18 pounds
  • Binding: Paperback
  • 128 pages

From School Library Journal

YA A lovely browsing collection of color reproductions that will appeal to young fantasy fans because of Vallejo's exciting renditions of unearthly creatures and sexy humans. The moods range from the frightening to the humorous. Vallejo describes various painting techniques in an accompanying text, and he includes some rough sketches to illustrate the development of painting. This book is more of an introduction to fantasy art appreciation than a course in technique. There is no index or list of illustrations.

Copyright 1986 Cahners Business Information, Inc.

Excerpt. © Reprinted by permission. All rights reserved.

The Concept

The elements of a fantasy illustration need make no pretence of imitating life such as they must in, say, an illustration for a gothic, a mystery, or a novel. Fantasy engages the imagination to a much larger extent; the creatures portrayed may come partly or entirely from your head. And yet, to be successful, the scenes from your imagination must be convincing enough for a viewer to be willing to go along with you: to willingly suspend his disbelief and say, "Yes, this could work".

How does someone begin to create these wholly imaginary pictures? The answer to the eternal question "Where do your ideas come from?" seems obvious at first. Naturally, they come from my head. Where else? Ideas come from one's head. It's true, when you set a manuscript to illustrate, you're likely to find descriptions in it. Still, it is up to the artist to interpret them. All those alien beings and landscapes come into being from what is, in fact, known to us. Existing life may be the point of departure, yet all successful fantastical creatures must relate back to it as traceably as vertebrates do to the single-celled amoeba. Muscles are what makes movement possible for the higher forms of living creatures. If you want to paint a combination animal/machine, let's say, there must still be a relation to existing animals and existing machines; the musculature, at least, must be plausible.

The immediate environment is a tremendous source of ideas for me: shadows, shapes, things that, as a result of being near-sighted, I don't exactly see. It's pretty easy for me to reinterpret something twenty feet away which is already fuzzy. With a little push it readily loses its real contours and becomes something else in my eyes. If I start elaborating on what I don't clearly see, I can go in any direction. All I need is an existing starting point; my imagination takes over from there.

This odyssey of the imagination need not be a deliberate or controlled thing. It's much better when it's not directed, when I simply sit quietly and let it happen. In a sense, it's as though my ideas don't come out of me so much as I allow them to move in on me. The most important thing one can do to nourish the imagination is relax. I have noticed that when I specifically try to think of something, really strain towards an idea, very little happens. Whatever does happen is usually stilted and forced. If I relax and open the doors, so to speak, ideas do come.

Often enough, inspiration begins with the model. I see someone and I think: I would like to use this person for a painting; I would like to focus on this or that special feature of this person. From there I can evolve a character, an atmosphere, or an entire concept.

I once saw a young man at the gym I go to. He was an excellent bodybuilder, but the more notable quality about him was that he possessed not only huge muscles -- a really fine development -- but also a very boyish, almost child-like face, which presented a striking contrast with his physique. I stored this impression in the back of my mind, hoping that a job would come along for which I could use him. Then I was given a collection of stories by Isaac Asimov.

My original concept for this book's cover was of a young scientist type sitting on top of the earth in the middle of space. Subsequently I got a call from my client saying that although she liked the sketch, it was not exactly what she had in mind. What did she have in mind? Well, she was rather vague about that, but she preferred something with a more heroic feeling. As we were talking it occurred to me that, instead of emphasizing the human aspect of the stories, I might emphasize the mechanical.

It was then that I decided to do a robot -- not the typical machine-like robot, but a more human one who would, nevertheless, have a superhuman appearance. At once I made the connection between this idea and the young man I had seen in the gym. The fact that his face was so youthful and his body so highly developed led naturally to the idea of keeping the roundness of the muscles and the distinctive shape of the body but making it metallic, chrome, really beautiful and shiny out there in the middle of space. I still thought of having him standing on the earth, but as I worked, the earth changed into a simple globe. It also became shiny, like glass or chrome.

So, you see how the concept changed from the sketch of the robot that I started out with to the finished painting. With the use of that man as the model, the robot became an almost superhuman figure, spinning nebulae out of his bare hands. His face is nearly expressionless. Yet there is a suggestion of childlike wonder and joy at what he is doing: there he is in the middle of space, fascinated with the beautiful things he is creating. In this case, the "model" was just perfect, and the concept owed a great deal of its development to his physical characteristics.

Of course the concept may originate in a more general way than with the model. I may simply think: It would be nice to do something metallic; it would be nice to do something fluffy; it would be nice to do something in which I can concentrate wholly on the figure because the background would be negligible or, vice versa, in which I can concentrate mainly on the background because the figure is inconsequential.

Most often, however, the concept is established by the manuscript to be illustrated or by the movie for which a poster is to be made -- by the product to be sold. In the case of a book there is, first, the manuscript. There is an old saying that one shouldn't judge a book by its cover. But often enough a book is bought precisely because of its cover. Therefore, as an artist, what one must look for in a manuscript is a scene that is representative of the book, perhaps one with plenty of action or one that is, for its colour or subject, quite eye-catching. After all, there are hundreds of books on the bookstore shelves and the successful cover should draw the prospective buyer like a magnet.

Some authors are very descriptive and make the task of selecting a visually effective scene relatively easy. The Lavalite World is a good example. It is a book of adventures and consequently presents any number of action scenes involving the hero, the heroine, and the monster or villain. To show the hero and heroine riding a tree trunk into battle was, to my mind, colourful and unusual enough to evoke any browser's interest in the book.

Some authors are less visual in their writing. They write with less attention to detail and their imagery is more abstract. In such a situation one has to capture a feeling, something representative of the story rather than a particular scene or incident from it. This feeling must then by expressed in visual terms in order to convey an immediate sense of what is going on in the book. My illustrations for Enchantment, which my wife Doris wrote, exemplify this.

The painting for "Web" does not represent a particular scene from the story. It is simply a depiction of the way I experience a spider woman. I began with the question: What typifies a spider? It has eight legs. But I didn't want to paint a totally unappealing woman with eight hairy legs. I wanted a woman who was sensual and sexy-looking, but at the same time menacing, and who would still evoke the feeling of a spider -- perhaps with a spiderweb around her.

The painting that was done for Heavy Metal, however, was not inspired by a manuscript or anything more than the title of the magazine itself: HEAVY METAL. I began with the idea of something metal, a heavy metal. A safe came to mind. The door of a safe which, to me, was quite representative both of "metal" and of "heavy". From there followed the image of a bank vault. Yet this was a fantasy painting that I was going to do. What did fantasy have to do with a bank vault? I decided to put it into space; a heavy metal bank vault floating in outer space. Still, something fantastical had to happen. What if something is inside there, I thought. What would have to be locked behind such a door? Some kind of creature, obviously, that has to be kept from escaping. And what if the creature has been pounding at the door? What if the creature has a metal hand that it has been pounding and pounding the door with and has finally broken through? The first picture that flashed through my mind was of some powerful and monstrous creature. But that would have been a bit too ordinary. So I made it incongruous: a kind of wild-looking woman instead of a creature, not all that physically powerful in appearance but with a crazed look. She not only had the metal hand but the wild eyes and the wild red hair. All these elements brought together in a painting should really make the viewer stop and say: Look at that! What's going on there!

Copyright © Collins & Brown Ltd 1985
Text and illustrations copyright © Boris Vallejo 1985

Most helpful customer reviews

1 of 1 people found the following review helpful.
An excellent supplement to their Fantasy Workshop book
By Alaskaguy
I've been entralled by Boris and Julie's book covers for many years. Fixated by their figures, fantasy creatures, and supernatural landscapes, I couldn't even imagine painting figures in such detail myself. I really like this book, but will also admit that it left me a bit disappointed at first, not by what it included - but by what it lacked. Its strengths are summed up in Boris's sage advice that "the beginning artist should draw only what he sees" and its thorough demonstration of using models, reference photos, and sketching. By itself, that's well worth the price of this book - especially coming from a fantasy artist! Several step-by-step demos and many finished paintings add considerably to this, but still left me (then a wannabe artist) wanting to know more. What a surprize to find their other book Fantasy Workshop: A Practical Guide! Taken as a pair, these two books by Boris and Julie reveal a considerable amount of advice and details about techniques, style, composition, inspiration, and more for painters of all levels. In fact, they inspired me to take the plunge and try my hand at realistic portrait and figure painting. By following their methods and demos, I've been been pleasantly surprized with the results. I've since acquired more experience, as well as a substantial library of books by other authors (read my other reviews), but I find myself returning to this and others by Boris and Julie, for reference, techniques, and inspiration.

0 of 0 people found the following review helpful.
Boris at his best (imo)
By Amazon Customer
used to have this book back in the 80's.
was glad i found it again.
the artwork is fantastic.
you get some pencil work in the beginning and then the full color oil paintings.
love it.

0 of 0 people found the following review helpful.
Five Stars
By Sean
great

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Power Electronics Design Handbook: Low-Power Components and Applications (EDN Series for Design Engineers), by Nihal Kularatna

Power Electronics Design Handbook covers the basics of power electronics theory and components while emphasizing modern low-power components and applications. Coverage includes power semiconductors, converters, power supplies, batteries, protection systems, and power ICs.

One of the unique features of the Power Electronics Design Handbook is the integration of component and system theory with practical applications, particularly energy-saving low-power applications. Many chapters also include a section that looks forward to future developments in that area. References for further information or more in-depth technical reading are also included.

Nihal Kularatna is a principal research engineer with the Arthur C. Clarke Foundation in Sri Lanka. He is also the author of Modern Electronic Test and Measuring Instruments, published by the Institute of Electrical Engineers.

Emphasizes low- and medium-power components
Offers a unique mix of theory and practical application
Provides a useful guide to further reading

  • Sales Rank: #3037179 in Books
  • Published on: 1998-08-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x .75" w x 6.14" l, 1.29 pounds
  • Binding: Hardcover
  • 300 pages

Review
"...offers excellent tutorial-style coverage of basic component properties in addition to a breadth of information on the basic functional blocks of power systems. A good quick reference source." - PCIM

'The author, an expert in the field, integrates component and system theory with practical applications, particularly energy-saving, low-power applications. Many chapters contain sections on future developments. There are also references for further research and more in-depth technical reading.' - Popular Electronics

'This excellent, well-written text is a must for power quality engineers, technicians, marketers, manufacturers and designers. This is a very comprehensive power quality handbook.' - Power Quality Assurance

From the Publisher
One of the unique features of The Power Electronics Design Handbook is the integration of component and system theory with practical applications, particularly energy-saving low-power applications. Many chapters also include a section that looks forward to future developments in that area. References for further information or more in-depth technical reading are also included.

About the Author
Nihal Kularatna is the author of Power Electronics Design Handbook. He is an electronics engineer with over 30 years of experience in professional and research environments. He is a Fellow of the IEE (London), a Senior Member of IEEE (USA) and an honors graduate from University of Peradeniya, Sri Lanka. Presently, he is a Senior Lecturer in the Department of Engineering, the University of Waikato, New Zealand. He worked at the Arthur C. Clarke Institute for Modern Technologies (ACCIMT) in Sri Lanka as a Research and Development Engineer until 1990 when he reached Principal Researcher Engineer status. He was then appointed as CEO of ACCIMT in 2000. From 2002 to 2005 he was a Senior Lecturer at the Department of Electrical and Electronic Engineering, University of Auckland. He is currently active in research in transient propagation and power conditioning area in power electronics, embedded processing applications for power electronics, and smart sensor systems. He has authored five books and is currently working on his sixth. His hobby is gardening cacti and succulents.

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Sabtu, 17 Juli 2010

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Ten years after the worldwide bestseller Good to Great, Jim Collins returns withanother groundbreaking work, this time to ask: why do some companies thrive inuncertainty, even chaos, and others do not? Based on nine years of research,buttressed by rigorous analysis and infused with engaging stories, Collins andhis colleague Morten Hansen enumerate the principles for building a truly greatenterprise in unpredictable, tumultuous and fast-moving times. This book isclassic Collins: contrarian, data-driven and uplifting.

  • Sales Rank: #4432 in Books
  • Published on: 2011-10-11
  • Released on: 2011-10-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.05" w x 6.00" l,
  • Binding: Hardcover
  • 320 pages

Amazon.com Review

Jim Collins on the Writing Process

When I first embarked on a career that required writing, I devoured dozens of books about the process of writing. I soon realized that each writer has weird tricks and idiosyncratic methods. Some wrote late at night, in the tranquil bubble of solitude created by a sleeping world, while others preferred first morning light. Some cranked out three pages a day, workmanlike, whereas others worked in extended bursts followed by catatonic exhaustion. Some preferred the monastic discipline of facing cinder-block walls, while others preferred soaring views.

I quickly learned that I had to discover my own methods. Most useful, I realized that I have different brains at different times of day. In the morning, I have a creative brain; in the evening, I have a critical brain. If I try to edit in the morning, I’m too creative, and if I try to create in the evening, I’m too critical. So, I go at writing like a two piston machine: create in the morning, edit in the evening, create in the morning, edit in the evening…

Yet all writers seem to agree on one point: writing well is desperately difficult, and it never gets easier. It’s like running: if you push your limits, you can become a faster runner, but you will always suffer. In nonfiction, writing is thinking; if I can’t make the words work, that means I don’t know yet what I think. Sometimes after toiling in a quagmire for dozens (or hundreds) of hours I throw the whole effort into the wastebasket and start with a blank page. When I sheepishly shared this wastebasket strategy with the great management writer Peter Drucker, he made me feel much better when he exclaimed, “Ah, that is immense progress!”

The final months of completing Great by Choice required seven days a week effort, with numerous all-nighters. I had naively hoped after writing Good to Great that perhaps I had learned enough about writing that this work might not require descending deep into the dark cave of despair. Alas, the cave of darkness is the only path to producing the best work; there is no easy path, no shorter path, no path of less suffering. Winston Churchill once said that writing a book goes through five phases. In phase one, it is a novelty or a toy; by phase five, it is a tyrant ruling your life, and just as you are about to be reconciled to your servitude, you kill the monster and fling him to the public. And so, exiting the caving blinking in the sunlight, we’ve killed the monster and hereby fling. We love this book, and have great passion about sharing it with the world—making all the suffering worthwhile.

A Q&A with Morten T. Hansen

Q: How did you and Jim develop ideas together during the research?

Hansen: During our hundreds of research meetings—what we called “chimposiums” (as when two curious chimps get together), Jim and I probed the data, exchanged views, and debated vigorously. We didn't always agree, in which case we did some more analysis to get to the main findings we report in Great by Choice.

Q: Why did Great by Choice take nine years of effort?

Hansen: When Jim and I started out some nine years ago, we did not anticipate that it would take us this long, nor did we know what the results would be. We followed a simple principle—carry out the absolutely best research we could possibly do, no matter how long.

Q: Did you find what you expected, or surprises?

Hansen: The way we did the research was to explore why some companies attained great performance over the long-run while others did not. We did not start with any preconceived ideas and hypotheses about what made the difference. We let the data speak. What we found, and what we report in the book, surprised us a great deal. A few times we scratched our heads because we were so surprised, but that's what the data revealed.

Q: Did you have fun?

Hansen: Analyzing the data, debating, and arriving at some really interesting insights was a great deal of fun. It created joy in my life. It may not be everyone's idea of having a good time, but Jim and I always looked forward to our chimposiums. I hope you will enjoy Great by Choice as much as Jim and I enjoyed the research process!

Review
“A sensible, well-timed and precisely targeted message for companies shaken by macroeconomic crises” (Financial Times)

“Collins and Hansen draw some interesting and counterintuitive conclusions from their research….far from a dry work of social science. Mr. Collins has a way with words, not least with metaphor.” (Wall Street Journal)

Entrepreneurs and business leaders may find the concepts in this book useful for making choices to increase their odds of building a great company. (Booklist)

From the Back Cover

The new question
Ten years after the worldwide bestseller Good to Great, Jim Collins returns with another groundbreaking work, this time to ask: Why do some companies thrive in uncertainty, even chaos, and others do not? Based on nine years of research, buttressed by rigorous analysis and infused with engaging stories, Collins and his colleague, Morten Hansen, enumerate the principles for building a truly great enterprise in unpredictable, tumultuous, and fast-moving times.

The new study
Great by Choice distinguishes itself from Collins’s prior work by its focus not just on performance, but also on the type of unstable environments faced by leaders today.

With a team of more than twenty researchers, Collins and Hansen studied companies that rose to greatness—beating their industry indexes by a minimum of ten times over fifteen years—in environments characterized by big forces and rapid shifts that leaders could not predict or control. The research team then contrasted these “10X companies” to a carefully selected set of comparison companies that failed to achieve greatness in similarly extreme environments.

The new findings
The study results were full of provocative surprises. Such as:

  • The best leaders were not more risk taking, more visionary, and more creative than the comparisons; they were more disciplined, more empirical, and more paranoid.
  • Innovation by itself turns out not to be the trump card in a chaotic and uncertain world; more important is the ability to scale innovation, to blend creativity with discipline.
  • Following the belief that leading in a “fast world” always requires “fast decisions” and “fast action” is a good way to get killed.
  • The great companies changed less in reaction to a radically changing world than the comparison companies.

The authors challenge conventional wisdom with thought-provoking, sticky, and supremely practical concepts. They include: 10Xers; the 20 Mile March; Fire Bullets, Then Cannonballs; Leading above the Death Line; Zoom Out, Then Zoom In; and the SMaC Recipe.

Finally, in the last chapter, Collins and Hansen present their most provocative and original analysis: defining, quantifying, and studying the role of luck. The great companies and the leaders who built them were not luckier than the comparisons, but they did get a higher Return on Luck.

This book is classic Collins: contrarian, data-driven, and uplifting. He and Hansen show convincingly that, even in a chaotic and uncertain world, greatness happens by choice, not chance.

Most helpful customer reviews

273 of 280 people found the following review helpful.
Will you choose greatness?
By Owen Jackson
In Collins' new book he relies on the method you've seen in previous books like Built to Last and Good to Great. What's different in this one is he selected companies not just on their status or explosive growth, but because they succeeded in an extreme and uncertain environment. However, there's a caveat here: his research stopped in 2002, meaning there's no thorough analysis of how companies performed in the last 10 years (aka one of the most uncertain and chaotic business climates in decades). Collins and Hansen believe the future will be unstable and environments will be extreme for the rest of "our lives" (remember, these guys aren't Spring Chickens). So, they try to analyze company performance/greatness within the context of difficulty.

I always wish Amazon would show an easy-to-find Table of Contents for books, so I've created one for you here, complete with a summary of each chapter/section.

1 - THRIVING IN UNCERTAINTY
Collins and Hansen explain what the method for their book (what I described above), including the definition of a 10Xer, which is a company that beat their industry by 10 fold. Just 7 companies were selected as a 10X case out of 20,400 companies. The seven are Amgen, Biomet, Intel, Microsoft, Progressive Insurance, Southwest Airlines, and Stryker. They don't include Apple because their research lens of Apple vs. Microsoft focused primarily on the 1980s and 1990s (remember they stopped collecting data in 2002), which makes no sense to me. The present environment (the one in which Apple has exploded) is a far more difficult climate than the 80s-90s.

2 - 10Xers
Example of a 10xer is Southwest airlines, whose growth since 1972 is greater than that of Walmart, despite this period being a particularly harsh one for the airline industry. Anecdotes describe historic examples of 10xers and explains they aren't more creative, more visionary, more charismatic, or more ambitious, more blessed by luck, more risk seeking, more heroic, or more bold. The glaring fact that Apple is missing goes against this model, as Jobs and company were many of these things.

3 - 20 MILE MARCH
Here they introduce discipline as the key that sets 10Xers apart (hence the 20 mile march). 10Xers are focused on data with GREAT discipline and stick to their plan, like a 20 Mile March.

4 - FIRE BULLETS, THEN CANNONBALLS
10Xers were not more innovative than the control companies; indeed, they were considered less innovative in some comparisons. 10Xers scale innovation (firing bullets) and then the fire cannonballs once they know what's on target.

5 - LEADING ABOVE THE DEATH LINE
Explains "productive paranoia," the idea that you need to build cash reserves and buffers, bound your risk, and show flexibility in looking at macro and micro factors at play in your business and industry.

6 - SMaC
SMaC stands for Specific, Methodological, and Consistent. The more uncertain your environment, the more SMaC you need to be. A SMaC recipe is a set of durable operating principles and practices that create a replicable and consistent success formula.

7 - ROL (RETURN ON LUCK)
10Xers weren't more lucky or unlucky than comparisons. They had better ROL because they took full advantage of good luck and minimized the effects of bad luck. If you think about it, that's the real key to luck. Knowing when you got lucky and how to take advantage of it, rather than blindly thinking you walk on water (like so many businesses do).

Like Jim's other books, the how to is what's missing. An outstanding book for that (increasing your leadership skill set) is Leadership 2.0

49 of 53 people found the following review helpful.
Great by Choice is the second/better half of How the Mighty Fall
By Mark P. McDonald
Jim Collins extends and deepens the body of knowledge around the fundamentals of success. Great by Choice represents the second half of Collin's earlier book on company failure - How the Mighty Fall. While that earlier book concentrated on factors that drive failure, this describes the characteristics of sustained success.

This book is classic Collins. Well researched, clearly describes and expertly packaged for executives to incorporate these concepts into their lexicon and thoughts. This book is recommended as the capstone of the study of the fundamentals of great companies.

Great by Choice is a lot like How the Mighty Fall as it's a short, concise and focused book. About half of it is content and half is appendices, FAQs and methodology - just like HtMF. Put the two together and you get a comprehensive look at modern corporate success.

This is a book for understanding and admiring the factors Collin's points out as driving superior performance.

The book describes these factors, but description is not prescription.

This book is not a 'how to' book, nor one that provides much action oriented help. It relies on the reader understanding Collins points and then tailoring them to their situation. That places the burden of value on the reader, which is where it should be as greatness is less a recipe than a recommitment to hard work.

Great by Choice contains a set of core concepts that define the major chapters in the book. Here is a short description of each to provide an idea of what is in Great by Choice and how Collins describes the characteristics of companies that have exceptional performance, what Collins calls 10x.

20 Mile March describes the fanatic discipline that leads you to manage for the long term rather than chasing short-term results or the fade. Essentially this is the business version of the classical Greek axiom of balance and discipline.

Fire Bullets, Then Cannonballs by being empirically creative by experimenting intelligently everywhere and exploit where you know you are having success. This is more than the idea of `failing fast'. It is a definition of innovation based on the combination of creativity, discipline and data.

Leading above the death line describes the productive paranoia that was captured by Andy Grove's management mantra. This is a business version of the Boy Scout's principle of `Be Prepared.' This chapter concentrates on the success and practices of preparation and having reserves that enable you to achieve more.

SMaC describes the company's principles that are Specific, Methodolical and Consistent. This chapter in essence describes the power of common vision, direction and culture. Collins points out that SMaC is one of the more powerful ways to exert control in a dynamic world.

Return on Luck discusses how leaders and laggards face unpredictable positive and negative events. This is perhaps one of the best chapters as it describes how Collins and his team investigated the phenomenon of luck. As expected the conclusion is that luck does not play a guiding factor, rather its how you take advantage of good luck and are prepared (death line) for bad luck.

These concepts are all interrelated and go beyond the book' s triangle graphic. You cannot do a 20 mile march well without SMAC and both are worth lest without the preparation associated with leading above the death line.

Overall, I recommend Great by Choice for both fan's of Collins' work and for people who are new to this discussion. Yes this book is a continuation the prior books, but it does a great job of providing new insight without overly repeating prior points.

Great By Choice to be a good place for people to start. You do not need to read Collin's other books, but logically this book is the second half of How the Mighty Fall. I would suggest that if you are going to read both that you read HtMF first as you need to fix that first before the ideas in this book will have an effect.

Strengths

The book contains strong ideas that are simple to communicate and easy to mentally think about how they fit with your organization. Its easy to see how they would may your company a 10X performer.

The case descriptions are informative, insightful and illustrative. The cases are well worn: Southwest Airlines, Microsoft, Apple, Progressive Insurance and Intel, but well applied.

The use of mountaineering and explorers as non-business based examples will give you the stories to tell around the water cooler.

Challenges

The book provides powerful description of concepts that we already know. Rewriting Collins' points boil down to the following: have along term vision (20 miles), experiment to innovate (bullets and canon), `Be Prepared' (death line), follow your core (SMaC) and take advantage when possible (Return on Luck)

The companies featured are studied from 1977 to 2002 which was a period of significant change: the internet, oil crisis, stagflation, etc. However, historically economists have dubbed this period part of what they call the great moderation. So while these principles are timeless, they do not account for what has happened and happening now.

There is no treatment of technology in the book. Given that much of the global, collaborative and social world is driven by technology, this is a big omission.

72 of 80 people found the following review helpful.
Steady Marching Through Chaotic Times.
By AdamSmythe
Jim Collins is at it again. Collins, along with co-author Morten Hansen and a team of over 20 researchers, spent roughly nine years trying to determine why some companies thrive during chaotic, uncertain and unstable times while other companies do not. If you have read some of Collins' earlier books, the theme in "Great by Choice" certainly won't surprise you. In "Built to Last," published in 1994, Collins, co-author Jerry Porras and their research team wrote about what makes for a "visionary" company, comparing a group of objectively and subjectively defined visionary companies with comparison companies that weren't so visionary. The authors would argue that their company selections were much more objectively chosen, and I wouldn't argue much with that claim. In "Good to Great," published in 2001, Collins and his research team analyzed a number of good companies that took the next step to achieve greatness, while a comparison group of similar companies did not.

In both of these two earlier books, as well in the current one (I'll get to "Great by Choice" presently), the authors conspicuously note how much better the subject companies performed, stock market wise, compared to the comparison companies. However, it is important to realize that Collins and his co-authors are not suggesting that you run out and invest in their subject companies. If you did that for the "Built to Last" companies, your investments would have included Citigroup, Ford, Sony and other companies that subsequently didn't set the world on fire. Similarly, from the "Good to Great" focus companies, Circuit City eventually filled for bankruptcy and Fannie Mae proved to be a major disappointment, in more ways than one. The point is that the reader can learn from what these companies did during their periods of success, regardless of whether some of the companies lost their way later on. Interestingly, one company, Wells Fargo, actually went from the comparison list in "Built to Last" to the focus list in "Good to Great." Okay, forewarned is forearmed regarding investing in the subject companies.

A couple of years ago Collins wrote another book, "How the Mighty Fall," which is a study of leadership failure, not success. This short book is a very enjoyable and informative read, but somewhat different from the books I mentioned above. All of Collins' books are interesting, hard to put down, and written with a passion for understanding the mechanisms of corporate success. When it comes to writing, I think of him as the Michael Lewis of management gurus. Collins is also an exceptional speaker, if you ever have the chance to hear him.

In "Great by Choice," Collins and Hansen select just seven companies (out of an initial list of over 20,000) as examples of those that have thrived during chaotic times. The companies are Amgen, Biomet, Intel, Microsoft, Progressive Insurance, Southwest Airlines and Stryker. These companies are called "10X" companies, given that their stock prices outdistanced the comparison companies by roughly an order of magnitude during the study period. Consider, for example, Southwest Airlines. During the study period (1970s through 2002), Southwest faced fuel price jumps, deregulation, labor problems in the airline industry, competitors moving through the revolving door of bankruptcy, and an absence of flyers in the aftermath of September 11, 2001. Still, the company consistently grew and prospered. During this time, comparison company Pacific Southwest Airlines had an entirely different experience.

So how does Collins explain the different fortunes between the subject companies and the comparison companies? Simplistically put, the great-by-choice companies were much better able to differentiate between situations and factors they could control and those they couldn't. Also, they exemplified "fanatic discipline, empirical creativity and productive paranoia." If you have read Collins' other works, these terms have a certain familiar ring to them.

This wouldn't be a Jim Collins book if it didn't coin some new expressions, like the "big, hairy, audacious goal (BHAG)" from "Built to Last" and "Level 5 leadership" from "Good to Great." This time one of the main new expressions is the "20-mile march," which Collins uses to describe the very steady progress, through good times and bad, of the companies that thrive best during chaotic times, versus those companies that make exceptional progress during better times, but perform more poorly during tough times.

There is no such thing as a management guru with perfect insight or analysis, so I am not holding Collins to that standard. The real measure of a book such as this is more in its ability to raise important questions and through sound (even passionate) discussion help stimulate the reader to come to grips with important concepts. That's how people grow. If you have read and enjoyed Collins earlier books, chance are good you will like this one, too. If you are new to Collins, but have an interest in what makes companies tick, this book--along with his earlier works--are worth your consideration.

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Carbonate Reservoir Characterization: A Geologic-Engineering Analysis, Part I (Developments in Petroleum Science), by G.C. Dominguez, F. S

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Carbonate Reservoir Characterization: A Geologic-Engineering Analysis, Part I (Developments in Petroleum Science), by G.C. Dominguez, F. S

This book integrates those critical geologic aspects of reservoir formation and occurrence with engineering aspects of reservoirs, and presents a comprehensive treatment of the geometry, porosity and permeability evolution, and producing characteristics of carbonate reservoirs. The three major themes discussed are:

• the geometry of carbonate reservoirs and relationship to original depositional facies distributions

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The intention of the volume is to fully aquaint professional petroleum geologists and engineers with an integrated geologic and engineering approach to the subject. As such, it presents a unique critical appraisal of the complex parameters that affect the recovery of hydrocarbon resources from carbonate rocks. The book may also be used as a text in petroleum geology and engineering courses at the advanced undergraduate and graduate levels.

  • Sales Rank: #4665798 in Books
  • Published on: 1992-01-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 6.75" w x 1.25" l,
  • Binding: Hardcover
  • 640 pages

Review
In summary, this book contains a wealth of valuable engineering information on carbonate reservoirs and will be generally understandable to reservoir geologists working with carbonate reservoirs and has an excellent bibliography.
American Association of Petroleum Geologists
This unique book with its comprehensive treatment of geologic and engineering data on carbonate reservoirs is an important and first-rate contribution which both geologists and reservoir engineers can easily follow and understand. It fills an important niche and, given the quality of the contributions, it should be in the library of all those concerned with carbonate reservoirs.
Journal of Petroleum Science and Engineering

"Professionals and students of petroleum engineering, petroleum geology, petrophysics, and geophysics will find that the two-volume book gives them easy access to the broad literature base of carbonate reservoirs. Moreover, petroleum engineers and geologists should welcome this book as it encompasses complete references to the multitude of properties of carbonate reservoir rocks from 'sandy limestone' to fractured-fissured vuggy formation."
Fakhry A. Assaad in Environmental Geology, 2005

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0 of 0 people found the following review helpful.
Five Stars
By Travlin Ray
Great book, excellent reference for the office.

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Laboratory Profiles of Small Animal Diseases: A Guide to Laboratory Diagnosis, by Charles H. Sodikoff DVM MS



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Laboratory Profiles of Small Animal Diseases: A Guide to Laboratory Diagnosis, by Charles H. Sodikoff DVM  MS

Despite the growing role of imaging technologies such as ultrasound and CT, clinical pathology remains one of the most important and economical diagnostic tools in veterinary medicine. The 3rd Edition of this trusted resource helps readers to obtain optimal diagnostic value from today's many clinical and laboratory testing options. It includes approximately 80 new tests...a new section on dynamic laboratory testing...and many other important updates.

Spanish version also available, ISBN: 84-8174-574-X

  • Sales Rank: #2289953 in Books
  • Published on: 2001-01-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.41" h x 9.19" w x 10.51" l,
  • Binding: Spiral-bound
  • 594 pages

About the Author
Charles H. Sodikoff, DVM, MS

Most helpful customer reviews

0 of 0 people found the following review helpful.
Missing pages, extra pages, a real mess
By ponio
This book is awesome and hugely useful - sadly it arrived missing about 30 pages and had about 30 pages duplicated... a real disappointment.

0 of 0 people found the following review helpful.
Four Stars
By Tammy R
Use it as reference

1 of 1 people found the following review helpful.
Great Veterinary clinical labs book
By E. West
This book is irreplaceable when it comes to deciphering what lab work would look like for particular disease processes. I have found it to be very useful, very! I could only wish that the authors would come out with a new edition, and do an electronic copy as well, so I could have it on the go.

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Minggu, 11 Juli 2010

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Militant Islam, by G. H. Jansen

Militant Islam by G.H. Jansen

  • Sales Rank: #2230396 in Books
  • Published on: 1980-02
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 224 pages

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2 of 2 people found the following review helpful.
Militant Islam
By hazel
I read this book when it was first published. I've purchased another copy in order to read it again because its insights and historical grasp are not outdated but are perhaps even more important today. Anyone interested in the subject of militant Islam should begin with this book.

0 of 0 people found the following review helpful.
Timeless Relevance Two Decades Later
By hard2please
It is unusual for an academic critique of current events to remain relevant so long after it was written. In Militant Islam, the author's authenticity and vast practical experience combine with a keen and comparatively unbiased look at the Islamic world and the role that Islamic militancy plays in it.

The biggest difference today...some 24 years after Militant Islam was first published...is that we have a wealth of historical events foreshadowed in this treatise. A quarter century of "I told you so."'

Anyone who wants to understand Islamofascism and Islamic militancy needs to start with this book. It is a seminal work of intellectual criticism of contemporary Islamic culture.

If you wonder why what is happening is the world today is happening, read Militant Islam.

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Und Nietzsche weinte, by Irvin D. Yalom

Eine Ménage à trois zwischen Lou Andreas Salomé, Nietzsche und der Psychoanalyse.

Das Wien des Fin de siècle: Die selbstbewusste junge Russin Lou Andreas Salomé drängt den angesehenen Arzt Josef Breuer, dem suizidgefährdeten Friedrich Nietzsche zu helfen und ihn von seiner zerstörerischen Obsession für sie zu kurieren. Breuer willigt ein und unterzieht Nietzsche einer neuartigen Heilungsmethode, deren Ausgang jedoch für beide unerwartet ist.

  • Sales Rank: #193357 in Audible
  • Published on: 2015-12-18
  • Format: Unabridged
  • Original language: German
  • Running time: 1029 minutes

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0 of 0 people found the following review helpful.
The actual book is great
By KaiserSose
So the book is awesome, super interesting. The quality of this particular book however, isn't really the greatest. It seems very fragile, like it might break at the seem after a lot of reading, So i will update if it does. If you see no update, it's because it didn't.

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In the Mouth of the Whale (The Quiet War), by Paul McAuley

A novel of a savage future war, perfect for fans of Alastair Reynolds and Peter F. Hamilton.

Humanity's future rests on the shoulders of a Child from the past, and she must never know of the battles being fought for her ...

In the system of Fomalhaut, a war is being fought. The Quicks came long ago, refugees from the Solar System. The True arrived later, to find a declining civilisation and a system ripe for the taking. Then the Ghosts appeared, no longer human, unknowable, powerful and determined to drive out the Quick and the True. The battle continues, but the outcome is uncertain.

Three lives will intersect, because there is something at the centre of their universe, something dangerous and growing and powerful. Something that is worth fighting for. And it will change everybody's life.

  • Sales Rank: #510932 in Books
  • Published on: 2012-11-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.75" h x 1.00" w x 5.00" l, .53 pounds
  • Binding: Paperback
  • 352 pages

Review
A writer of dazzling range, luminous intelligence and great humanity―Alastair Reynolds

Paul McAuley's balanced grasp of satire and literature, always a rare attribute in the writer of prose fiction, is combined with the equally rare ability to look at today's problems and know which are really problems, and what can be done about them―William Gibson

About the Author
Paul McAuley won the Philip K. Dick Award for his first novel and has gone on to win the Arthur C. Clarke, British Fantasy, Sidewise and John W. Campbell Awards. He gave up his position as a research biologist to write full-time. He lives in London. You can find his blog at: http://www.unlikelyworlds.blogspot.com

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13 of 15 people found the following review helpful.
Masterpiece of contemporary epic sf
By Liviu C. Suciu
INTRODUCTION: As I have read and hugely enjoyed almost all sff Paul McAuley has written to date as well as a few of his near future thrillers, In the Mouth of the Whale has been one of my most awaited novels of 2012. While events in the duology The Quiet War/Gardens Sun impinge a little, this novel takes place far away in time and space and it's a standalone which can be read independently.

One thing of caution: as the main points of the two above novels are retold here, In the Mouth of the Whale contains huge spoilers for the preceding duology, though to be honest the characters and world building are such a big part of the enjoyment of the author's novels, that storyline spoilers are ultimately not that important.

And of course I highly recommend you to try The Quiet War and the stories from its universe, part of which the author has recently released inexpensively HERE.

The author describes the novel much better than I can on his website and I will reproduce his "overview" below, while the first 12 chapters can be read at the link above. As Paul McAuley says (and on reading the book I feel this overview presents the book pitch perfect):

"After you die, what do you do for the rest of your life?

The posthuman Quick settled the system of the star Fomalhaut long ago, and created garden worldlets and thistledown cities in its vast dust ring. An empire that after centuries of peace fell to a second wave of settlers, the fierce and largely unmodified True People. And now the True are at war with interlopers from another interstellar colony, the Ghosts, for possession of Fomalhaut's gas giant planet, Cthuga.

In the damaged and perilous Amazonian rainforest, the precocious Child is being groomed for her predestined role. But control of her story is fraying, and although she is determined to find her own path into the future, others have different plans.

In the war-torn worldlets of Fomalhaut, a librarian, Isak and his assistant, the Horse, are harrowing hells, punishment for a failure they can never live down, when they are given a new mission. The Library of Worlds has been compromised by a deep, mysterious conspiracy; as Isak and the Horse attempt to unravel it, they're drawn into the final battle for Cthuga.

And aboard a vast scientific project floating in Cthuga's atmosphere, a Quick slave, Ori, is snared in the plans of an eccentric genius. As the Ghosts mount their final assault on Cthuga, she discovers that she hold the key that determines the outcome of the war.

Three lives. Three stories that slowly draw together. And at their intersection is the mystery at the heart of Cthuga. Something dangerous and powerful. Something that may not only shape the future of humanity, but may also give control over the shape of its past."

ANALYSIS: Structurally, In the Mouth of a Whale is pleasantly symmetric with four main parts in which each of the three threads alternate modulo 3 starting with the unknown god-like narrator of the Child's journey, followed by Isak's first person narrative and ending with Ori's thread told in third person pov style. These parts have 12,12,9,12 chapters respectively, while the last part that concludes the stories of our main characters in three final chapters reverses the order, so now Ori's story is first.

The transitions are handled very well as they make you want to read what comes next in that particular thread, but also what comes next in the upcoming thread and the book maintains this balance to the end. The style transitions well too, from the more serene and slower moving chapters where the unknown entity narrates, to the immediate saga of Isak, the Horse and later Prem, where Isak comes as the typical "naive do gooder but very likable" hero of sf, so you cheer for him, to the action packed, darker story of Ori and the Quicks.

Overall the first three quarters of the novel were the kind I really wanted to just go on and never finish, while also reminding me why sf is still the most interesting literature when done superbly like here; sense of wonder, great characters, and for once the (as genre sff goes of course) stylistic daring I mentioned above. The last quarter was all action and things converged well with a great ending.

A combination of real - space shoot outs, strange habitats with everything from primitive life forms, dangerous animals to post modern grifters - and virtual action - harrowing hells, immersive drone combat -memorable characters and world building involving human/posthuman clades, slavery and superb references ("wreckers", "the True"...) weave into a rich tapestry that contains hard sf - biology and physics with a sprinkle of math - sociology and politics as well as a deep sense of history and what evolution means, while the speculations about future technologies and future possibilities for humanity are very convincing.

I also want to emphasize the "realistic feeling" that the author's exquisite world building induced, without info-dumps or too much jargon. I will direct you to chapter eight, so #3 in Isak's narration for a great example of this, while I will quote a few paragraphs here:

"A steady spout of water poured from a notch in the fountain's bowl, feeding a stream that ran off along a channel cut in the lawn, rippling clear as glass over a bed of white and gold quartz pebbles. We followed it through a rank of cypresses and emerged at the edge of a short steep slope of loose rock and clumps of dry grass. The parkland I had glimpsed from the flitter stretched away beyond, a mosaic of dusty browns and reds enlivened here and there by vivid green stands of trees. The sky had taken on the dusky rose of sunset, and clumps of stones glowed like heated iron in the low and level light. Rounded hills rising on either side hid the margins of the platform: the parkland seemed to stretch away for ever, like the landscapes of sagas set on old Earth.

Lathi Singleton dismissed my praise of the illusion, saying that it was simple stagecraft. 'My interest is in the biome itself. The plants and animals, and the patterns and balances they make. This one is modelled on Africa. You have heard of Africa?'

'It's where we first became what we are, Majistra.'

'I once kept a species of early hominin in this biome. Australopithecus afarensis. The reconstructed genome is contained in the seedship library; it was easy to merge it with Quick templates. And of course we hunted the usual Quick variants as well. But those happy days are long gone,' Lathi Singleton said, and walked off down the slope, stepping quickly and lightly beside the stream, which dropped down the slope in a ladder of little rills and waterfalls and pools, its course lined with red and black mosses and delicate ferns as perfect as jewels.

It grew warmer as we descended, and by the time I caught up with Lathi Singleton, at the bottom of the slope, I was out of breath and sweating. The stream emptied into a wide pool of muddy water whose margins had been trampled by many kinds of feet. Scaly logs lay half in and half out of the water on the far side. When one yawned, its mouth two hinged spars longer than a man's arm and fringed with sharp teeth, I realised that they were a species of animal.

'They won't hurt you because they can't see you,' Lathi Singleton said. It was the first time I had seen her smile. 'None of the fauna can see or smell anyone unless I want them too. Come along. I've arranged a little picnic. We'll eat, and I'll tell you what I need you to do, and why.'"

Overall In the Mouth of the Whale (top 25 novel of mine in 2012 and very likely a top 10, possibly a top 5) delivered what I expected and more and shows Paul McAuley at the top of his game. I would love more in this superbly rendered universe as I think there is a lot of scope for stories of humanity's clades and destiny as imagined by a modern master of science fiction.

Note: this review has been originally published on Fantasy Book Critic and all notes and references are to be found there

1 of 1 people found the following review helpful.
Not as 'mind blowing' as the first two books
By Ian Mond
There’s no doubt that In The Mouth of The Whale is more engaging and entertaining read then it’s two predecessors, but it’s also a lot less satisfying. Given my problems with both The Quiet War and Gardens of the Sun – at times they read more like technical manuals then novels – I could be accused of hypocrisy.

But while The Quiet War and Gardens of the Sun drove me crazy with their endless descriptions of space plants and space engineering, the imagination on display was, at times, breathtaking. McAuley’s idea of how humanity might shape itself to deal with environmental and social change both at home and in the outer reaches of the solar system not only had a ring of truth about it but also evoked a genuine sense of wonder, even if my eyes did glaze over at times.

Set more than a thousand years after the events of the previous two novels I was genuinely excited by what McAuley might imagine as the future for post-humanity. And while the first chapter is intriguing, with lines like: So the Child, our dear mother, twice dead, twice reborn, dreams herself towards her destiny, when we move to Fomalhaut (a star 25 light years from Earth) it all becomes a bit humdrum. There’s nothing abjectly wrong with the separate tales of Ori and the Librarian, they just lack the spark of imagination that made reading The Quiet War and The Gardens of the Sun a worthwhile experience.

For example, while Ori’s people, The Quick, have been enslaved by The True she has dreams and ambitions that go well beyond her station. When her desires become clear to her fellow compatriots they feel the need to put Ori in her place leading to the sort of earnest and unsubtle pontification you’d expect to hear from Mr Carson on Downton Abbey:

"We were made to serve the Trues, and that’s what we do,” Inas said. “And we do it gladly. And because the Trues made us, Ori, they don’t think of us as people. We are their tools, with no more rights to independence than any of their machines. They can send any one of us on the crew anywhere, without explanation or warning. And we obey them because that’s what we must do. Not because the only alternative is the long drop, but because it is our duty, and nothing else matters."

Don’t get me wrong, I understand the depressing point McAuley is making – that conquering and enslavement of those weaker than us is in our nature, that no matter how advanced we become we will fall back on the well worn grooves of our past actions. This is further reinforced by the feudal society that the Trues have developed, almost medieval in nature, with certain families holding sway and power. But it’s not a very interesting argument. Not because it’s pessimistic, but because in terms of world building and imagining a future society, it seems like the obvious choice, to argue that humans will be humans. I expected something crunchier from the guy who wrote The Quiet War.

The second story involving The Librarian, Isak, has an epic fantasy / cyberpunk vibe that wouldn’t feel out of place in the 1980s. There’s a quest for something vague and mysterious and a battle against demons in numerous virtual realities. It’s, at times, genuinely exciting and engaging but only because it all feels so familiar.

If there’s any originality to be found in In The Mouth of The Whale it’s with the third narrative, a story of a child living in Brazil at a time three or so decades before the events of The Quiet War. This section gives us an insight into the upbringing of Sri Hong Owen – a major player in the first two novels. We soon discover that these historical interludes are not entirely accurate, that they’re being cobbled together by a mysterious third party with an agenda of its own. Here McAuley critiques the way we all revise history, how we manipulate and change it for our needs, to justify our actions of the present and future.

In the end, though, I couldn’t help but feel disappointing by In The Mouth of The Whale. There were times that I found myself wanting just a bit more space engineering if it meant evoking a sense of wonder.

1 of 1 people found the following review helpful.
Hollow Adventure in the the Quiet Sun Universe
By Charlie Watanabe
Firstly, I'm a big fan of the author and his 'Quiet War' series. However, "In the Mouth of the Whale" is not of the same caliber as either "The Quiet War" or "Gardens of the Sun". These stories re-invigorated the (for me) moribund genre of space opera.

"Whale" is written in the same fashion of the series with alternating narration, and sweeping plot. However there are only three main characters here, one of which is the enigmatic Sri Hong-Owen, a figure in the series. I found Hong-Owen's storyline to be the only one of any interest. The other characters were mere caricatures. In addition, the plot was much more predictable than McAuley's typical work.

In general, other than "The Quiet War" and "Gardens of the Sun" the stories of the series ("Whale" and "Evenings Empires") have been a disappointment. Its not that the author doesn't have skill, I just suspect its that "The Quiet Sun" story has just been told ahd what has followed are just hollow adventures.

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