This volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. The event that gave rise to the collection was the 15th David Nochol Smith Seminar in Eighteenth-Century Studies, which launched a new Australian and New Zealand Society of Eighteenth-Century Studies. Two strands of interest are explored by the individual authors. The first four essays work with ideas about material objects and identity formation, suggesting how the artist's physical environment contributes to the sense of self, as a practicing artist or artisan, as an individual patron or collector, or as a woman or religious outsider. The last four essays address the intellectual work that can be expressed through or performed by objects. Through a consideration of the material formation of concepts, this book explores questions that are implicated by the need to see ideas in painted, sculpted, illustrated, and designed forms. In doing so, it introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment.

This volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. The event that gave rise to the collection was the 15th David Nochol Smith Seminar in Eighteenth-Century Studies, which launched a new Australian and New Zealand Society of Eighteenth-Century Studies. Two strands of interest are explored by the individual authors. The first four essays work with ideas about material objects and identity formation, suggesting how the artist's physical environment contributes to the sense of self, as a practicing artist or artisan, as an individual patron or collector, or as a woman or religious outsider. The last four essays address the intellectual work that can be expressed through or performed by objects. Through a consideration of the material formation of concepts, this book explores questions that are implicated by the need to see ideas in painted, sculpted, illustrated, and designed forms. In doing so, it introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment.

Leading yoga teacher trainer Melanie Cooper brings you the essential guide to teaching yoga and adjusting asana (yoga poses). The first part of the book explores the fundamentals of teaching in a simple, clear, accessible way. The author covers how to teach crucial concepts such as breath, muscle lock and gaze, as well as more general topics including injuries, ethics and the spiritual aspects of yoga. Part 1 also includes a quick-look guide to counting the Primary Series, and teaching points for each Primary Series posture. In the second part of the book the author demonstrates helpful techniques for deepening common yoga postures, and provides a complete guide to hands-on adjustment for the Ashtanga Primary Series. With a wealth of information, clear writing, and fresh, detailed photography, this is an invaluable resource for qualified yoga teachers, student teachers, and yoga students who want to take their practice to the next level.

This trusted companion offers help and guidance on the day-to-day practicalities of teaching and running a yoga business. Including insights from renowned yoga professionals, including Liz Lark, Lizzie Lasater, Andrew McGonigle, Katy Appleton and Tarik Dervish and more, this book offers practical ways to hone teaching skills. It features topics such as working with common injuries and conditions, breath, sequencing, incorporating philosophy and myth into class, and the links between yoga and Qigong and Ayurveda. It also provides key information on how to get the most out of a yoga business, with advice on setting up and running a studio, and planning and leading retreats.

The laboratory course described in the lab manual emphasizes experimental design, data analysis, and problem solving. Inherent in the design is the emphasis on communication skills, both written and oral. Students work in groups on open-ended projects in which they are given an initial scenario and then asked to investigate a problem. There are no formalized instructions and students must plan and carry out their own investigations.