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Mental Automatism, A conceptual journey into Psychosis is a unique reference manual of psychotic symptomatology. This book is comprised of three sections: 1- A detailed introductory review of the historical concepts behind the psychiatric and neurologic theories pertaining to psychosis from early nineteenth century to twentieth century. This introduction will lead to one of the best encompassing theory on psychosis: Clerambault's theory of Mental Automatisms. 2- A full English translation of the work of Gatian de Clerambault on automatisms. This famous French alienist established a symptomatic theory on psychosis which continues to this day to astonish readers through an elaborated descriptive language. 3- An unprecedented exhaustive catalogue and description of a vast array of psychotic symptoms. This is a unique catalogue which includes a coherent classification of symptoms, but also the manner in which these symptoms can be recognized and elicited. A short biography of Clerambault will also be provided. This provocative book will present an unseen perspective on psychosis not only for clinicians and researchers, but also for anyone who seek to have a fuller understanding of this dramatic ailment.

One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. In Prehistoric Future, Ralph Ubl approaches Ernst like no one else has, using theories of the unconscious—surrealist automatism, Freudian psychoanalysis, the concept of history as trauma—to examine how Ernst’s construction of collage departs from other modern artists. Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged—rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image or memory comes into the mind’s view. In addition, Ernst scoured the past for obsolete scientific illustrations and odd advertisements to illustrate the rapidity with which time passes and to simulate the apprehension generated when rapid flows of knowledge turn living culture into artifact. Ultimately, Ubl reveals, Ernst was interested in the construction and phenomenology of both collective and individual modern history and memory. Shedding new light on Ernst’s working methods and the reasons that his pieces continue to imprint themselves in viewers’ memories, Prehistoric Future is an innovative work of critical writing on a key figure of surrealism.

In the first half of the twentieth century, avant-garde artists in Europe, keen to break with academic tradition, began looking beyond the accepted canons of Western art in a search for new sources of inspiration. "Primitive" art, the drawings of children, the art of the insane, automatism, and graffiti all opened up new avenues of experimentation. One of the key figures in this drive to push back the boundaries of art was leading French artist Jean Dubuffet. At the end of World War II, Dubuffet became interested in the works being produced by patients in psychiatric hospitals and by other social outcasts. He made two fruitful trips to Switzerland, where he discovered Wölfli, Aloïse, and Müller, now recognized as important exponents of what was later to become known as "Outsider Art." In 1948, Dubuffet founded the Campagnie de l'Art Brut in order to extend and document the collections he had recently begun. In 1976, after various adventures, the Collection de l'Art Brut moved to its permanent home in Lausanne.This carefully researched book traces the history of the concept of Art Brut, which is inseparable from the work and personality of the man who did the most for the appreciation and preservation of these remarkable works. The account is completed by biographical notes on the artists featured and an extensive bibliography. The works reproduced, mostly from the collection created by Dubuffet, have retained their subversive freedom, which continues to fascinate and inspire artists and collectors today.

One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. In Prehistoric Future, Ralph Ubl approaches Ernst like no one else has, using theories of the unconscious—surrealist automatism, Freudian psychoanalysis, the concept of history as trauma—to examine how Ernst’s construction of collage departs from other modern artists. Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged—rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image or memory comes into the mind’s view. In addition, Ernst scoured the past for obsolete scientific illustrations and odd advertisements to illustrate the rapidity with which time passes and to simulate the apprehension generated when rapid flows of knowledge turn living culture into artifact. Ultimately, Ubl reveals, Ernst was interested in the construction and phenomenology of both collective and individual modern history and memory. Shedding new light on Ernst’s working methods and the reasons that his pieces continue to imprint themselves in viewers’ memories, Prehistoric Future is an innovative work of critical writing on a key figure of surrealism.

In the first half of the twentieth century, avant-garde artists in Europe, keen to break with academic tradition, began looking beyond the accepted canons of Western art in a search for new sources of inspiration. "Primitive" art, the drawings of children, the art of the insane, automatism, and graffiti all opened up new avenues of experimentation. One of the key figures in this drive to push back the boundaries of art was leading French artist Jean Dubuffet. At the end of World War II, Dubuffet became interested in the works being produced by patients in psychiatric hospitals and by other social outcasts. He made two fruitful trips to Switzerland, where he discovered Wölfli, Aloïse, and Müller, now recognized as important exponents of what was later to become known as "Outsider Art." In 1948, Dubuffet founded the Campagnie de l'Art Brut in order to extend and document the collections he had recently begun. In 1976, after various adventures, the Collection de l'Art Brut moved to its permanent home in Lausanne.This carefully researched book traces the history of the concept of Art Brut, which is inseparable from the work and personality of the man who did the most for the appreciation and preservation of these remarkable works. The account is completed by biographical notes on the artists featured and an extensive bibliography. The works reproduced, mostly from the collection created by Dubuffet, have retained their subversive freedom, which continues to fascinate and inspire artists and collectors today.

LEDone's Occupancy Sensor LOD-BRI819P-B-O is a new Energy Saving Switch. It adopts a good sensitivtiy detector, integrated circuit, and SMT. It gathers automatism, convenient, safe, energy-saving, and practical functions. It utilizes the infrared energy from human as the control-signal source, and starts the load once someone enters the detection field. It is easy to install and used widely, possessing the capability to show power and detection. Color: White. Material: Thermoplastic.

For it's inclusion as known Schumann's keyboard works like the "Scenes from Childhood" and "Forest Scenes" of the fortepiano expert January Vermeulen tried to Schumann's metronome markings to get as close as possible. The result is as surprising as it is convincing, especially when one is ready to give an automatism and cherished listening habits. As an instrument it is a wonderful wing from the workshop of Johann Nepomuk Trndlin (1790-1862) are available, the pianos in the Viennese tradition b