This text is a philosophical discourse of creativity and conceptuality, both in theory and in practice. It brings together the theories of some of the biggest western thinkers of all times, from Descartes and Nietzsche to Baudrillard and Derrida, on one common point, Nothingness and the Other. It aims to present creativity through several different dimensions by bursting the cultural bubble in order for the reader to gain a vantage point of view from the outside. It tackles both the issues of creativity in life as well as art, at the same time as it puts them into practice. Visually, it contains part of a collection that is linked to this text on all possible levels and should serve as examples. The technical Drawings are also included in order to help you follow through the entire process of their construction. Graphically, it will demand that you read it from slightly different angles and will force you to trace the words through different pages in order to help you to add your own sense to it. On the other hand, the book does not demand a reading in the strict sense of the word. One single page could make you re-evaluate everything. All I, the author, ask of you, is to make this book your own. Use the white spaces to write on. Use it as a sketchbook, use it to squash bugs, use it to level the dinning table. R. Tavakoli

This adaptable instrument's origins date back centuries. Celtic legends amuse us with mystical stories describing the creation of stringed music, but practical history recounts that the modern birth of the violin occurred in Italy as early as the sixteenth century. The skilled craft of hand production was renowned in France as well, but it is the British classic type and its history that W. Meredith Morris writes about in British Violin Makers . This classic, comprehensive reference to violin making, reprinted in 1920, features a biographical dictionary of craftsmen, along with many of their signatures and marks. Twenty-six photographs of selected makers and their instruments help place the contemporary reader in the style of the period. Reverend Morris's second edition improves upon the first 1904 edition by adding more than 150 names to the list of makers who produced six violins or more. A new foreword by music scholar Benjamin Hebbert explains the important role British violin makers played in the development of the instrument. From Morris's narrative, one gets a feel for the importance of the craftsman and his materials. He explains the various types of wood and varnish used, and how they, along with the arch and contour, work together to produce a specific tone. Speaking with fervor, the way a wine connoisseur does when describing a certain vintage, Morris compares and contrasts the quality of British instruments to that of other nations.