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Molly’s Cue is a story of growing up only to discover that things aren’t the way you always thought they were, but that, with persistence, there’s more than one way to reach for the stars. For always and EVER, Molly Gumley has wanted to be on stage, has imagined and dreamed of life as an actor. That’s because Grand, her grandmother, filled Molly with colourful stories of theatre life, and with her faith in what she saw as Molly’s destiny. But as Molly enters high school, Grand is no longer in her life. She’s left to pursue the dream on her own. High school, with a real stage and a real drama teacher, is the next step to Molly and Grand’s shared dream -- life is finally going to begin. Molly auditions for a school play, certain of the lead role. She is going to shine! But then she runs into a roadblock that threatens everything, making her question her lifelong dream. With a cast of interesting and unforgettable supporting characters, Molly’s Cue will appeal to all young adults trying to find their place in life’s stage. Humourous and poignant, Alison has created a compelling novel that will appeal to many.
Having set aside age-old ways of mourning, how do people in the modern world cope with tragic loss? Using traditional mourning rituals as an instructive touchstone, Gail Holst-Warhaft explores the ways sorrow is managed in our own times and how mourning can be manipulated for social and political ends. Since ancient times political and religious authorities have been alert to the dangerously powerful effects of communal expressions of grief--while valuing mourning rites as a controlled outlet for emotion. But today grief is often seen as a psychological problem: the bereaved are encouraged to seek counseling or take antidepressants. At the same time, we have witnessed some striking examples of manipulation of shared grief for political effect. One instance is the unprecedented concentration on recovery of the remains of Americans killed in the Vietnam War. In Buenos Aires the Mothers of the Disappeared forged the passion of their grief into a political weapon. Similarly the gay community in the United States, transformed by grief and rage, not only lobbied effectively for AIDS victims but channeled their emotions into fresh artistic expression. It might be argued that, in contrast to earlier cultures, modern society has largely abdicated its role in managing sorrow. But in The Cue for Passion we see that some communities, moved by the intensity of their grief, have utilized it to gain ground for their own agendas.
For director Alan Rafkin, television is probably the silliest and most volatile business in the world. Yet whether he was catching a pie in the face or working with an array of eccentric and talented stars, Rafkin was addicted to television from day one.
This book provides an introduction into both computational models and experimental paradigms that are concerned with sensory cue integration both within and between sensory modalities. Importantly, across behavioral, electrophysiological and theoretical approaches, Bayesian statistics is emerging as a common language in which cue-combination problems can be expressed. This book focuses on the emerging probabilistic way of thinking about these problems. These approaches derive from the realization that all our sensors are noisy and moreover are often affected by ambiguity. For example, mechanoreceptor outputs are variable and they cannot distinguish if a perceived force is caused by the weight of an object or by force we are producing ourselves. The computational approaches described in this book aim at formalizing the uncertainty of cues. They describe cue combination as the nervous system's attempt to minimize uncertainty in its estimates and to choose successful actions. Some computational approaches described in the chapters of this book are concerned with the application of such statistical ideas to real-world cue-combination problems, such as shape and depth perception. Other parts of the book ask how uncertainty may be represented in the nervous system and used for cue combination. The broadening scope of probabilistic approaches to cue combination is highlighted in the breadth of topics covered in this book: the chapters summarize and discuss computational approaches and behavioral evidence aimed at understanding the combination of visual, auditory, proprioceptive, and haptic cues. Some chapters address the combination of cues within a single sensory modality while others address the combination across sensory modalities. Neural implementation, behavior, and theory are considered. The unifying aspect of this book is the focus on the uncertainty intrinsic to sensory cues and the underlying question of how the nervous system deals with this uncertainty. The book is intended as a reference text for graduate students and professionals in perceptual psychology, computational neuroscience, cognitive neuroscience and sensory neurophysiology.
This book is written for the aficionados of pocket billiards, the weekly recreational & league players, the Pro-players, the action players, and even the actor players, playing players in movies or TV shows. We must also include the backbone of pocket and carom billiards. A most unlikely group of people that play pool so casually that they don’t even consider themselves as players. It is just something to do while waiting for something else to happen. These billiard characters reside in the mysterious back corners of my mind. Over the last few years they kept driving me, at odd hours to, “go ahead Doc, write it down, don’t let our billiard knowledge just die out and fritter away”. I listened. To list all these players, writers, supporters and industry suppliers that influenced me is not practical, but they were all subconsciously urging me on. Some were mere shadows of memories or ghosts flickering through the murky mental back roads. All had a part in this. God bless them all for those parts that they played.
A murder has taken place on stage and it seems that one of three people must be guilty. The crime was committed in full view of the audience and players, but no one can say whom the murderer is. There appear to be no clues, the suspects are all well trained in the art of dissimulation, and all three deny any knowledge of the crime. It looks like the perfect murder, until Dr Basil Willing, psychiatrist-sleuth, begins to investigate the peculiar behaviour of a pet canary and a housefly.

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