Free PDF Killing: A Spiritual Discernment Guide for Law Enforcement, by Ray K. Vann

Free PDF Killing: A Spiritual Discernment Guide for Law Enforcement, by Ray K. Vann

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Killing: A Spiritual Discernment Guide for Law Enforcement, by Ray K. Vann

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Review

"Anything that could help a member of the law enforcement community deal with the aftermath of an officer involved shooting, is a benefit to the officer, their department and their community, and Ray Vann's insight, in Killing: A Spiritual Discernment Guide for Law Enforcement, could be one such thing that helps officers get through their ordeal with the help of their faith."    -BERNARD B. KERIK, Police Commissioner (Retired), City of New York "This book is a must read. To the law enforcement reader and one who is considering law enforcement as a career, Police Chaplain Ray Vann, who passionately serves the police of Lufkin, Texas, offers a valuable, unique and personally transparent perspective regarding deadly force usage. He understands the critical decision making action of officers and thus he provides the reader a process to understand their own emotional and spiritual discernment beforehand in order to arrive at their own personal convictions on this issue. This type of encouraged introspection I feel only enhances the officers' mental and emotional health."     -VINCENT GOLBECK, Assistant Police Chief (Retired), Dallas Police Department "Life is sacred and because of this deadly force may at times be necessary."    -MOST REV. JOSEPH E. STRICKLAND, Bishop, Catholic Diocese of Tyler

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About the Author

Raymond (Ray) K. Vann, Jr., serves as a police chaplain for the Lufkin Police Department in Lufkin, Texas. He was ordained a permanent deacon in the Roman Catholic Diocese of Tyler in 2007 and serves St. Patrick and St. Andrew parishes in Lufkin, Texas. Ray also owns a consulting firm and three other small businesses. Ray earned a Bachelor of Arts degree and Master of Arts degree, both in Theology, from Saint Joseph's College in Standish, Maine. A proud father of three daughters, Mary, Nikki, and Kiahley, Ray praises God each day for the gift of his family, and especially for Fe, his wife of 25 years.

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Product details

Paperback: 158 pages

Publisher: Servi Publishing, LLC (January 11, 2019)

Language: English

ISBN-10: 0960065709

ISBN-13: 978-0960065707

Product Dimensions:

6 x 0.4 x 9 inches

Shipping Weight: 8.8 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#1,261,698 in Books (See Top 100 in Books)

As a police officer for 21 yrs, and a police chaplain for 6 yrs, I thought I had considered pretty much all of the aspects of deadly physical force. However, after reading this excellent book, I realized there were many aspects I had not considered. I think this is a must read for police chaplains, LEO's, and frankly anyone who carries a weapon. I will be ordering this book for the rest of the chaplains on my department. Great job Ray.

Finished Part 1 last night. Excellent information. A must for all Law Enforcement Officers and Police Chaplains. I bought two copies, one for me and the other for my Deacon Mentor who is a Police Chaplain.

Very helpful for Law Enforcement Chaplains

I found Ray’s book an EXCELLENT resource. As a fill time police chaplain for 24 years. I have seen many times where this book would have been a great help to our officers.

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Ebook Download , by Dawn Fotopulos

Ebook Download , by Dawn Fotopulos

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, by Dawn Fotopulos

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Product details

File Size: 5964 KB

Print Length: 312 pages

Simultaneous Device Usage: Up to 5 simultaneous devices, per publisher limits

Publisher: AMACOM (September 3, 2014)

Publication Date: September 3, 2014

Sold by: HarperCollins Publishing

Language: English

ASIN: B00KVO2C4W

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Amazon Best Sellers Rank:

#71,022 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

First a qualifier, I have only gone through the first 3 chapters, but that is because I have already read them multiple times! I have purchased the Audible version and Kindle version.The author Dawn Fotopulos breaks down the financial statements of business into recognizable everyday language of an automobile dashboard. One of the greatest strengths of The United States today is our entrepreneurial spirit. Combined with the unprecidented lower barriers of entry that allow competition, this is the Era of the Startup. Spiderman’s Uncle said, “With great power comes great responsibility.” This is very true with the leverage and capital this Startup Movement has created.As Entrepreneurs we are building jets (Launching Companies), carrying cargo (product) & passengers (customers/employees), blasting into the stratosphere for the entire world to see on Facebook, Twitter, etc. And for me personally, having just enough information and understanding to be extremely dangerous. The simple and proper perspective Dawn brings, I believe is training me for understanding to be an effective operator as a business leader. This is done without trying to turn me into a bookkeeper, accountant, or CPA.My personal story and history has been, I believe, a typical one for the entrepreneurial personalities out there. Excellent product and people person. Natural salesman. Passionate with a vision, having the ability to communicate the destination. All these qualities people would celebrate as a leader. The great danger for startups and entrepreneurs is this. We are taking this long journey into the wilderness without the knowledge of how to read our basic instruments. Fear takes over and discouragement is encountered by well meaning colleagues who are naturally “Number Guys/Gals”. Fighting to survive day to day naturally leads to focusing on activities that “Generate Money.” Selling more, Marketing better, Buidling more.I’ve read books on Quickbooks, Bookkeeping, signed up for online services, Stewardship seminars, and have even gone to counselling because of the stress and pressure I’ve placed on myself. All these activities have aspects of help and assistance, but none have communicated to me the way this book does.Accounting for the Numberphobic: A Survival Guide for Small Business Owners takes the monster of Financial Statements and transforms it to the tools that they are designed to be. Spedometer, Fuel Guage and Oil Pressure. The boogeyman has no teeth and no more claws.The excitement I am beginning to feel with each chapter of this book is nothing short of a miracle for me personally. Without guilt or shame, I am facing my fears of “The Numbers” and taking my knowledge from being merely intuitional guessing to a thoughtful methodical creative process.Gone are the days of “Googling” accounting terms and figuring it out myself.I thank God for Dawn Fotopulos and the work she put into this bookLooking forward to following up with this review after I complete this book and beyond.

This book has CATAPULTED every single business who has implemented it's core tenants into driving their business into profitability. As a business coach and therapist, it has enabled me to communicated better to my entrepreneurs about how to run their businesses with less stress. Often times for small business owners, they started their business because of a dream and that dream became the nightmare as running a business is HARD. Now, they can't figure out how wake up from that nightmare and make their blood, sweat, and tears have something to show for it. If you are an accountant looking to figure out how to talk to your own clients about why these numbers are important, this book will do all of the heavy lifting for you and help you speak a language your clients do about this stuff.If you are a small business owner, this is the biggest tool you'll need in navigating the rough waters of entrepreneurship and making sure you make it out. It's not just a book on numbers, it's a back door to figuring out what the best strategy is for your business and giving you the tools on how to know if all of your work is making the right kind of difference. It teaches you the right kind of questions to ask so you get the answers you are really looking for. Also, especially if you are looking for outside funding, it will show you how to reduce your risk profile so that banks and other lenders will take a second look at you.I have so many stories of businesses that were turned around or saved themselves from making costly mistakes by reading this book. From all over the world - whether it was with entrepreneurs in East Africa or in the US, this book empowered them to turn around their businesses in a very short period of time without working tremendously more.My only complaint was that there weren't longer sections on how to implement strategy, but, my hope is that will be in a second book!

I could not believe the find in this book. I was looking for a good audio book, in my never-ending search to finally begin to grasp more about accounting for my small business. To my surprise, I was so blown away by the material that I also decided to buy the Kindle book. I really like that she has a few basic fundamentals that she bases her entire approach upon. She does not leave you in a sea of details and terminology that you have no idea what to do with. Quite the opposite, where she keeps the terms down to just what is needed, and shows lots of concrete examples, and suggestions for action items. Dawn's passion to help small businesses is evident, and she also takes care to present this challenging subject in a fun, and entertaining way.After further study with both the audio and Kindle versions, I decided to do a search on the internet to see if Dawn Fotopulos (the author of this book) might be available for consultation. I was pleased to find that she is teaching an online course, and I immediately signed up. She has personally helped me get started in taking steps that I have needed to have done 20 years ago.I would highly recommend this book for someone that is "numberphobic" as I have been, or if you simply want to expand your perspective on what knowledge is needed in accounting for small business. Using Amazon's "Look Inside" feature from their website, or downloading a sample for your Kindle might be an excellent way to see if the book would be a good fit for you. I hope it is as life-changing for you, as it continues to be for me.

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Get Free Ebook , by Cliff Jacobson Cliff Jacobson

Get Free Ebook , by Cliff Jacobson Cliff Jacobson

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Product details

File Size: 36770 KB

Print Length: 208 pages

Publisher: Falcon Guides; 3 edition (February 7, 2012)

Publication Date: September 8, 2014

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B00RMO0CWI

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Amazon Best Sellers Rank:

#387,866 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

This is a great all around guide to canoe camping in general and the BWCA specifically. Cliff's stories and obviously founded in years of experience and I found myself wanting to travel with Mr. Jacobson on our next trip up north. I was genuinely surprised by the 1 star reviews I read which seemed completely off base. My only complaint was that I wanted it to be longer...I finished it over three nights and wanted much more! Cliff, you don't seem to be lacking in the travel companion department, but if you're ever in need of another outdoorsman on your next trip, give me a shout!

I've purchased other canoe books but the two I bought from Cliff Jacobson I can't put down. I'm a novice and I feel his books are the most informative and real. He doesn't say you need the most expensive things just what works and just what you need. Lots of good advice from a man with lots of experience and a real passion for the outdoors. Book explains all need to know about permits and what to expect when you travel in the bwca.

Jacobsons's BW Canoe Camping is a must read for all who are headed to the BWCA. I do not agree will all of his equipment reccomendations as I prefer somewhat lighter gear than he prefers but his recomendations are tailored more to groups/families where equipment costs are a major consideration. His advice on prepping your gear, and how to stow, load, and portage is obviously the results of years of experience. This isn't a "where to go" book for the BWCA, though he does suggest several routes.

Maybe I should have looked at what the content was going to be more closely but it is amazing they were able to make a book out of such little material. There are like two routes discussed and even those don't have very much information. I don't know if there is another resource out there with more routes etc but if that is what you are looking for, I would avoid this thing

We gave this book to a young man who is reading the book from cover to cover! He is wanting to go on a canoe trip as soon as possible!

wonderful overview

Great book about canoe camping in the BWCA. I had never been camping before and this book helped me be prepared and feel better about heading into the wild. Also has lots of great tips about canoeing, what to pack, and what to wear when camping here.

Great book for anyone who enjoys the outdoors.

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Ebook Tales of Juha: Classic Arab Folk Humor (International Folk Tales)

Ebook Tales of Juha: Classic Arab Folk Humor (International Folk Tales)

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Tales of Juha: Classic Arab Folk Humor (International Folk Tales)

Ebook Tales of Juha: Classic Arab Folk Humor (International Folk Tales)

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About the Author

Salma Khadra Jayyusi is one of the Arab world's most distinguished literary personalities. She is the founder of PROTA (Project of Translation from Arabic) and is widely known for her poetry and literary criticism. Her books include Trends and Movements in Modern Arabic Poetry, The Legacy of Muslim Spain, and The Literature of Modern Arabia: An Anthology.

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Product details

Series: International Folk Tales

Paperback: 144 pages

Publisher: Interlink Pub Group; First Edition edition (October 17, 2006)

Language: English

ISBN-10: 156656641X

ISBN-13: 978-1566566414

Product Dimensions:

5.5 x 0.5 x 8.2 inches

Shipping Weight: 4.8 ounces (View shipping rates and policies)

Average Customer Review:

2.1 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#1,616,223 in Books (See Top 100 in Books)

I do a good deal of oral storytelling, and was hoping that these would be a useful resource. They are not. It's possible that a good enough storyteller could elaborate some of them into something that an audience would enjoy, but it would take a good deal of effort.The most interesting thing about the collection for me was seeing versions of stories I already knew from other sources, including one from Boccacio. In each case, the Juha version was much weaker than the version I knew. Which is the original and which the copy I cannot tell--the book provides no useful information about the dates of composition of the stories, and my guess is that they were all collected from current usage, although I gather that there are Juha stories from much earlier. Internal evidence, such as the presence of a musket in one story, suggests that at least some of them are recent enough to have been copied from an earlier European source.

It is supposed to contain funny tales about Geha. After I read a number of pages with great patience without finding a single funny tale I sent the book to my garbage can.

I am baffled at the review penned by my learned colleague, who saw fit to assign one star. His evidently Middle Eastern surname gives me pause, but I discern more sour grapes than legitimate analysis. I find the material extremely funny, revealing much about the cultural mores of the Arabic peoples and also providing good, honest, clean laughs. The material pokes fun at government officials, the wealthy, and the "learned" as well as demonstrating simple-minded "dummy" jokes. I also recognize material found elsewhere variously packaged, such as in the guise of Sicilian anecdotes ("Giufa," with an accent grave over the A, they call him), and one or two stories recognizable from the fables of Aesop or--as the Armenians call him when you see the material packaged as "theirs"--Olompianos with a Polish-style slash through the L.The book provides ideal light reading and, for those who don't know much about the culture of the Islamic peoples, will also proffer the rudiments of an education therein. Never mind sour-pussed reviewers who dare to contradict my authoritative opinions!

Book was a disappointment. Literal translations of phrases and dialogue do not convey the subtlety of the punchlines of the stories which are usually aphorisms

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Download Ebook Curriculum Considerations in Inclusive Classrooms: Facilitating Learning for All Students

Download Ebook Curriculum Considerations in Inclusive Classrooms: Facilitating Learning for All Students

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Curriculum Considerations in Inclusive Classrooms: Facilitating Learning for All Students

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Paperback: 275 pages

Publisher: Paul H Brookes Pub Co (September 1, 1996)

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Download PDF Prayer: How To Pray In The Holy Ghost And Win All Battles, by Moses Omojola

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Prayer: How To Pray In The Holy Ghost And Win All Battles, by Moses Omojola

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Moses Omojola is the author of the famous book "How to discover your divine destiny and total breakthroughs" and "21 keys to miracles in helpless situations: How to pray when you can't pray", and many other great books. He is an academic scholar, a Speaker, Counsellor, Life purpose, Career and Business Start-Up Coach, with over 16 years experience doing what he lives for!

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Paperback: 60 pages

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PDF Download Photography Theory (The Art Seminar)

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James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the Art Institute of Chicago, and Head of History of Art at the University College Cork, Ireland. He is author of Pictures and Tears, How to Use Your Eyes, and What Painting Is, and, most recently, The Strange Place of Religion in Contemporary Art and Master Narratives and Their Discontents, all published by Routledge.

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Series: The Art Seminar

Paperback: 484 pages

Publisher: Routledge; 1 edition (December 15, 2006)

Language: English

ISBN-10: 0415977835

ISBN-13: 978-0415977838

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This book is of great help to understand some of the basis that Ronald Berthes and Susan Sontag talk about. It's a great and efficient explanation of the photography theories. Totally worth keeping on the shelf.

interesting photography as philosophy, read it.

This book is mostly a rehashing of the subject on indexicality...is a photo an index or is it not. It is somewhat interesting but i think there are better things to read and a better things to spend money on.

Totally gooblegook. Extremely academic and unreadable.A complete waste of time and money. You've got to handit to the editor, though and his publisher to make this dreck look good to the consumer. I wish I would have been givenan opportunity to sample the book because if I had been Inever would have bought this.

Even though I've studied philosophy and semiotics extensively I consider myself a photographer rather than a philosopher or semiologist. Yet I believe that photography, or at least art photography, should have meaning. Photography theory as a field has seemed to work at the intersection of philosophy, semiotics and art history. I've thought that it might provide insight into the way that photographs demonstrate meaning and that it might help me to be a better photographer and viewer of photographs. Over the years I've read the important works in photographic theory by authors like Walter Benjamin, Roland Barthes, and Susan Sontag, and more recently, Michael Fried. Although I often found photographic theory interesting as an intellectual and sociological exercise, nothing in photographic theory seemed to bear any relevance to either my own image making or my appreciation of images of others. Even though its utility to a photographer was suspect, I wanted to test whether my general impression was correct by reading the 2007 "Photography Theory".This book centers around a seminar of photographic theory academicians held at the University College Cork. The book begins with several introductory essays that were meant to lay the groundwork for the seminar, followed by a transcript of the actual seminar. This is followed by a twenty-seven so-called assessments meant to address the points raised in the seminar, and then two essays meant to wrap up the subject.The seminar itself dealt with a number of subjects that most photographers would find esoteric. The base question was, "what is photography?", and in attempting to answer that question a number of issues were raised. Typical was the question of the index, which to semiologists is a particular kind of sign or representation. Although the discussants dwelt on the subject at length, and although a few of the discussants asked what the use of the concept of an index was in a practical world, the discussion reached no conclusions. To similar effect was the discussion of Roland Barthes' distinction between punctum and stadium, which again reached no conclusion and demonstrated a concept in search of utility.The assessments were far more interesting than the seminar. A few assessors offered up what they considered clarifications or explanations of the seminar and a few chose to dwell on their own work without reference to the discussion. Many more felt that the discussion proved the non-utility (none of the assessors used the word "useless") of either the current state of photography theory or the seminar.After most of this I was more than ever convinced that photographic theory was of no help to me as a photographer, or even as a student of photography. Then the very last essay in the book arrested my attention. In "Photographs and Fossils", Walter Benn Michaels, a literary theorist teaching at the University of Illinois, offered a synthesis of the topics discussed and even an explanation of the most recent work of Michael Fried, that placed the diverse viewpoints previously discussed into an understandable perspective. He suggested that the reason for the confusion represented the dilemma of not just photography but art at the current time as to whether the artist should attempt to wrest control of the image by forcing the viewer to accept the artist's denotation of the image rather than the viewer's connotations. (Those are my words, not Michaels'.)Ultimately then, "Photography Theory" left me skeptical as to photography theory's usefulness to the practicing photographer and viewer, although a single essay left me still hopeful. Unfortunately, Michaels' work is otherwise unavailable, so the reader will have to determine if this wonderful paper is worth the aggravation of the rest of the book

Photography Theory is the second in a projected seven volume series called The Art Seminar, edited by James Elkins and sponsored by University College Cork and the School of the Art Institute of Chicago, among other institutions. I have only read this volume, but all evidently have, or will have, the same basic format:(1) Introduction - an overview survey article commissioned for the book(2) Starting Points - a small collection of papers on specific topics intended to stimulate discussion.(3) The Art Seminar proper - the transcript of an extended panel discussion on the subject of the book involving 8-12 participants and gently moderated by Elkins.(4) Assessments - twenty-five to thirty mostly one-page responses to the panel discussion by qualified people, primarily (exclusively?) academics, including a luminary or two. In this volume those who contributed responses were all different(with one special exception I'll return to below) from those who participated in the panel discussion, but it doesn't seem to be a requirement of the series.(5) Afterwards - a small number of papers commissioned for the book that discuss the subject with reference (but not necessarily very much reference) to the papers, the panel discussion and the responses.While not necessarily the most valuable part of the book, the panel discussion is clearly the heart of it. And in the case of Photography Theory it is a faltering one. The participants themselves seem unhappy with the results they achieve, or rather fail to achieve, and acknowledge more or less directly the following shortfalls, among others.(a) They cannot agree on "the index", a specific theoretical conception, derived from the philosophical work of C.S. Peirce, of the special "non-coded" (i.e. direct, inherent) relationship of a photograph to what it is a photograph of.(b) They cannot agree on what to make of Roland Barthes' writings on photography, particularly his late work Camera Lucida (1980), including the famous distinction between studium and punctum.(c) They cannot agree on the issue of the medium-specificity of photography as an art form and its relationship to painting and other art forms.(d) Their home territory is art history and criticism, and they are not sure what to think about forms of photography that fall outside this domain.(e) They are all academics and spend most of their time discussing photography with other academics and very little with practicing photographers.(f) They spend much more time talking about the theory of photography than about actual photographs.To their credit and especially to Elkins', there is no evidence that they improved the discussion after the fact by adding material to the transcript, or for that matter by taking material out (not counting grammatical discontinuities and easily imaginable ephemera like who ordered the chicken salad or which pub shall we go to after we're done).Similarly, and credit for this must go to Elkins, there is no evidence of the responses being limited in any way, whether in length or in content or in tone. The fact is that some of them are unapologetically negative, hammering on the weak points acknowledged by the panelists themselves, and others as well. They occasionally grind their own axes, but mostly ones relating to the topics at hand.So too for the afterwards, though these are less tied to the panel discussion and consequently less critical. (In fact, if anything they are too disconnected and take on the quality of, this is an interesting subject, here's what I think about it.)Still, there is one genuine sour note in the book that deserves mention. If you look carefully at the contents you will see that two people made contributions to two different sections. One is Rosalind Krauss, who has both a brief piece "Introductory Note" at the end of the Starting Points and another "Note on the obtuse" in the Assessments. The other is Joel Snyder, who participates in the panel discussion and also has an item entitled "Pointless" at the end of the Assessments. The two are related.Krauss says in "Notes on the obtuse" that she and Snyder "have been arguing about matters connected to the index for at least ten years now" (p. 341). They are clearly still doing so in the book, each trying to get the last word, and not in a friendly way. Snyder for his part, after noting the civility, if not the fruitfulness, of the debate about indexicality in the panel discussion, goes on to say: "Regrettably, some of the statements in this volume are not presented in the spirit of the talks at Cork, and so I will be blunt in my response", adding parenthetically "(obtusus in Latin means, among other things, blunt)", a clear reference to the title of Krauss's second piece. Then he goes on for more than twenty pages (one of the longest contributions in the Assessments sections; Krauss's two items are only a few pages each) restating his positions and addressing Krauss's statements point by point.For me all the weaknesses of the panel discussion listed above come together in this unpleasant after the fact debate. The discussion has become too academic, the positions too entrenched, and the scope too narrow. There is clearly something real in the notion of indexicality, but the Peircean foundation is too abstract and too aprioristic to truly explain it, and those whose who are trying to apply the concept to the problems of photography and art lack either the inclination or the ability or both to evolve it into a theory of photography that really works. The last essay in the book, the second of the two afterwards, by Walter Benn Michaels, is called "Photography and Fossils". It seems to me that the biggest fossil in photography is the index, as conceived by those who believe in it. (Sorry, couldn't resist.)If people really want a proper theory of photography, it should be one that covers all photography - or maybe even all of what we are now more likely to call imaging - both art and non-art (vernacular and utilitarian), both visual and non-visual (in the sense of showing something significantly different from what can be seen with the unaided eye). The theory should explain both the nature of how images are made and how they are perceived and understood by human beings.Elkins himself says something like this in the course of the panel discussion, and at one point brings up the example of side-scan sonar images. This was one of the times when people "stopped talking", but he himself says something very interesting: "It looks like a lunar landscape, but it can't be "read" like an image: you think you're seeing hills and valleys, but actually the value scale denotes hardness, softness and other properties. ..." (p. 181). I would add that you don't have to go this far afield to find images that raise interesting questions of "reading". Why do black and white photos seem realistic and HDR photos do not? Why do we trust an image made with a shift-and-tilt lens but not one that has had its perspective fixed in Photoshop? Where is the photographer in an automatic surveillance photo, or in a Gregory Crewdson shot?To conclude, if you are interested in photography theory that sees indexicality as the central overriding issue, you will probably find a lot that's worthwhile in this book, especially in the panel discussion and the responses. If on the other hand you are mainly interested in other things, for example the history of photography or the social function of photography or contemporary art photography, or simply how to take good pictures, then you will probably not find much of anything.With that caveat I give it four stars.

This is someone's term paper or research thesis turned into a book. Very educational, very much theory, and VERY BORING... I guess unless you are in education this book is a waste for time to read.

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