A Short History of the World

H. G. Wells
Aug 16, 2013

THE story of our world is a story that is still very imperfectly known. A couple of hundred years ago men possessed the history of little more than the last three thousand years. What happened before that time was a matter of legend and speculation. Over a large part of the civilized world it was believed and taught that the world had been created suddenly in 4004 B.C., though authorities differed as to whether this had occurred in the spring or autumn of that year. This fantastically precise misconception was based upon a too literal interpretation of the Hebrew Bible, and upon rather arbitrary theological assumptions connected therewith. Such ideas have long since been abandoned by religious teachers, and it is universally recognized that the universe in which we live has to all appearances existed for an enormous period of time and possibly for endless time. Of course there may be deception in these appearances, as a room may be made to seem endless by putting mirrors facing each other at either end. But that the universe in which we live has existed only for six or seven thousand years may be regarded as an altogether e of 239,000 miles. Earth and moon are not the only bodies to travel round the sun. There are also the planets, Mercury and Venus, at distances of thirty-six and sixty-seven millions of miles; and beyond the circle of the earth and disregarding a belt of numerous smaller bodies, the planetoids, there are Mars, Jupiter, Saturn, Uranus and Neptune at mean distances of 141, 483, 886, 1,782, and 1,793 millions of miles respectively. These figures in {3} millions of miles are very difficult for the mind to grasp. It may help the reader’s imagination if we reduce the sun and planets to a smaller, more conceivable scale.


Aug 14, 2013

In presenting to the public the series of Text Books of Art Education, of which this volume is a part, it is desired to state briefly the aims and purposes of the plan upon which the series is based. It is not necessary to review the history of art education in public schools, nor to present argument for the introduction or retention of drawing as an important study. These questions have been exhaustively treated, and need no fresh discussion. The school that does not offer to its community some kind of systematic art instruction is today an exception. Education along specific lines should conform to the philosophy which is accepted as fundamental in general educational work. The educational principles adhered to in these books are, therefore, in accord with the psychological laws of child development which are endorsed by the leading educators of the present time, and the effort has been made to work out in these books a series of lessons that shall be not only educationally sound and artistically correct, but at the same time adapted in the different stages to the child's ability to comprehend and his power to express. With this end in view, the lessons in the Text Books of Art Education have been divided into three groups which may be known as the Observational or Objective Group, in which the study of things is the aim; the Subjective Group, in which the study of principles or laws of beauty is the aim; and the Creative Group, in which the application of accumulated knowledge and ability is the aim. In furthering the work of the first group, the topics so familiar to the art teacher of our modern schools are treated—landscape, plants, life, and still life. In the second group are presented the principles of perspective, of industrial drawing, of color harmony, and most important of all, the principles of pure design. In the third group are placed creative exercises in composition, in decorative design, and in many forms of manual training. While the same division of work is kept throughout the course, the manner of presentation differs greatly in the different years. In the primary grades, the work is largely objective in its character. Children are taught to see and to do. In the intermediate grades, the children are introduced to the principles of arrangement, Balance, Rhythm, and Harmony, which have been adopted as the working basis of this series of books, and in the light of which the subjective and creative work of the upper grades is planned. As the work progresses through the different years, the subjective and creative sides are more and more emphasized, and the study of objects is felt to be merely a means necessary to an end. All through the series, there is a definite, logical progression, so that in schools where these ideas are put into practice, there should be no ground for the complaint that the work of the intermediate and grammar grades falls below the work of the primary grades, in general excellence. These books are the outgrowth of years of experience in practical fields of work. They have been prepared with a keen appreciation of the obstacles which have confronted the art teacher in public education, and with an intimate knowledge of the child mind, in its various stages of development. Never before has an attempt been made to put into the hands of children a text of lessons in art. The illustrations serve the double purpose of illuminating the text and of furnishing the children with standards of work in the various mediums. For the Theory of Color Relations used in these books, special acknowledgment is due to Dr. Denman W. Ross, of Harvard University. The lessons in design are preparatory to the fuller exposition in the upper books of Dr. Ross's principles of arrangement—Balance, Rhythm, and Harmony.

Noam Chomsky - Understanding Our World

John Wilson
Jul 29, 2013

Chomsky is one of the best-known figures of the American left although he doesn't agree with the usage of the term. He has described himself as a "fellow traveller" to the anarchist tradition, and refers to himself as a libertarian socialist, a political philosophy he summarizes as challenging all forms of authority and attempting to eliminate them if they are unjustified for which the burden of proof is solely upon those who attempt to exert power. He identifies with the labor-oriented anarcho-syndicalist current of anarchism in particular cases, and is a member of the Industrial Workers of the World. He also exhibits some favor for the libertarian socialist vision of participatory economics,[1] himself being a member of the Interim Committee for the International Organization for a Participatory Society.[2] He believes that libertarian socialist values exemplify the rational and morally consistent extension of original unreconstructed classical liberal and radical humanist ideas in an industrial context.[3] Chomsky has further defined himself as having held Zionist beliefs, although he notes that his definition of Zionism would be considered by most as anti-Zionism these days, the result of what he perceives to have been a shift (since the 1940s) in the meaning of Zionism (Chomsky Reader). Chomsky is considered "one of the most influential left-wing critics of American foreign policy" by the Dictionary of Modern American Philosophers.[4] Source: Wikipedia