The Seeing Eye traces its origin to the trenches and battlefields of World War I, where legions of soldiers were blinded during years of brutal engagements. After the war, Germany trained dogs to guide its blinded veterans. In the late 1920s, a small group of innovators took it upon themselves to teach blind and visually impaired people in North America to use dog guides. The Seeing Eye has since helped thousands to achieve greater independence, dignity, and self-confidence, using specially trained Seeing Eye dogs as their companions.Using rare photographs and documents, The Seeing Eye details this remarkable organization and its pioneers, including German shepherd breeder and Seeing Eye founder Dorothy Harrison Eustis; Morris Frank, the first visually impaired American to learn to use a Seeing Eye dog; and Frank's own dog, Buddy. The story follows the first students as they navigate the busy streets of Nashville, Tennessee, in 1929, and Morris County, New Jersey, where the fledgling organization moved in 1931 and where it continues to operate today. The Seeing Eye documents the campuses and the students, as well as the faithful dogs, their care, and their training. The reader will meet the dedicated employees and volunteers who have made the organization possible, as well as the graduates who have gone on to lead successful and fulfilling lives.
When I was teaching art, I developed a simple, step-by-step method of helping my students learn to draw realistically by exercising the right sides of their brains. In most of our lives, it's the left side that gets all the action-reading, calculating, talking, identifying and categorizing... Very little attention is given to the part of us that loves detail, textures, colors, shapes, timelessness. Not using the right side causes us to lose the ability to function well, diminishing the power to reason and solve problems with our entire brain. Most of my students had such underdeveloped right brains that they found it difficult to see accurately what was in front of them. So I gave them exercises that ranged from such basic skills as observing and duplicating lines and the spaces between them to drawing complicated objects they had to decode by using such techniques as contour drawing and negative space. The results were gratifying. Students who could not draw could at least tackle any subject with confidence, and those with artistic talent found drawing even more enjoyable. And one of them, Stephanie C. Del Bosco, went on to become a professional artist and co-authored this course with me. ---- Includes ten lessons with explanations, examples, exercises and evaluation instructions designed to encourage the Right Brain to see more accurately-to judge space and relationships, and to notice detail. Supplies needed: Pencil with eraser Paper Eraser Small-tipped, black marking pen Colored pencils or small-tipped marking pens Pencil sharpener Includes links to loose-leaf Exercise Pages you can print so you won't be constricted by the book binding when you draw. Pages are formatted to print on 8.5" x 11" US letter-sized paper.
This volume examines the great varieties of artistic experience from first hand phenomenological descriptions. It features detailed and concrete analyses which provides readers with in-depth insights into each specific domain of artistic experience. Coverage includes phenomenological elucidation of the aesthetic attitude, the power of imagination, and the logic of sensibility. The essays also detail concrete phenomenological analyses of aesthetic experiences in poetry, painting, photography, drama, architecture, and urban aesthetics. The book contains essays from "Logos and Aisthesis: Phenomenology and the Arts," an international conference held at the Chinese University of Hong Kong. It brings together a team of top scholars from both the East and the West and offers readers a global perspective on this interesting topic. These innovative, yet accessible, essays, will benefit students and researchers in philosophy, aesthetics, the arts, and the humanities. They will also be of interest to specialists in phenomenology.
Eye Rhymes presents exciting new material on the life and work of Sylvia Plath on the 75th anniversary of her birth. Bringing to light a side of Plath that is scarcely known, it is the first book to view her as a visual artist as well as a writer, showcasing over 60 visual works from childhood, teenage, and art-student years - many never published before.
"This book looks at the combination of art, creativity and expression through the use and combination of computer science, and how technology can be used creatively for self expression using different approaches"--Provided by publisher.
What is it that dogs have done to earn the title of "man's best friend"? And more broadly, how have all of our furry, feathered, and four-legged brethren managed to enrich our lives? Why do we love them? What can we learn from them? And why is it so difficult to say good-bye? Join B.J. Hollars as he attempts to find out--beginning with an ancient dog cemetery in Ashkelon, Israel, and moving to the present day. Hollars's firsthand reports recount a range of stories: the arduous existence of a shelter officer, a woman's relentless attempt to found a senior-dog adoption facility, a family's struggle to create a one-of-a-kind orthotic for its bulldog, and the particular bond between a blind woman and her Seeing Eye dog. The book culminates with Hollars's own cross-country journey to Hartsdale Pet Cemetery--the country's largest and oldest pet cemetery--to begin the long-overdue process of laying his own childhood dog to rest. Through these stories, Hollars reveals much about our pets but even more about the humans who share their lives, providing a much-needed reminder that the world would be a better place if we took a few cues from man's best friends.
Carl Olson is Professor of Religious Studies at Allegheny College in Pennsylvania. His previous books include The Indian Renouncer and Postmodern Poison: A Cross-Cultural Encounter and The Theology and Philosophy of Eliade: A Search for the Centre.