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LIFECODE

Name: LIFECODE
Author: Stuart Pivar
ISBN: 0-9749860-0-3

THE THEORY OF BIOLOGICAL SELF-ORGANIZATION

by Stuart Pivar ‧ RELEASE DATE: N/A

An intriguing work of new ideas on the cutting edge of biology, though not for the uninitiated.

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Lavishly illustrated examination of the theory of biological self-organization—territory unfamiliar to most.

The theory of self-organization is an attempt to answer the continuing and ancient question of how the organism develops from a solitary fertilized egg to achieve its final form in maturity. Pivar believes that biology as a discipline has no overarching theoretical principle to explain the process of ontological development. He begins with a detailed description of the tensile strength of the toroidal sphere and how that funnel bi-layer shape is an ideal flexible vessel designed to facilitate the progression from single cell to full-fledged organism. He posits that the specific pattern of development of the species is already encoded at the cellular level and elaborated through physical and chemical dynamic processes. While the genome can specify certain traits of the animal, it cannot account for the process of the developmental sequence of the emerging biological form. In a similar vein, he rejects the principle of random mutation or natural selection precisely because these Darwinian concepts stress the crucial input of the environment in promoting adaptive evolutionary change along a continuum. He describes and illustrates the developmental sequence of flora and fauna from the basic toroidal sphere, stating that every life form grows from the same hypothesized point of origin as the inner layer undergoes continuous embryological transformation that is specific to each animal, flower or insect. The presentation of the biological self-organization theory, unorthodox at best since it minimizes accepted doctrines in biology, is highly disorganized. By immediately discussing and defining the mechanical properties of the torus and more specifically the toroidal sphere, Pivar is launching the reader into highly unfamiliar–and often disorienting–territory, a situation worsened by liberal use of terminology that is discipline-dependent. It is only in the concluding chapters that the relation of the torus principle to ontological and philological development is clarified.

An intriguing work of new ideas on the cutting edge of biology, though not for the uninitiated.

Pub Date: N/A

ISBN: 0-9749860-0-3

Page Count: -

Publisher: N/A

Review Posted Online: May 23, 2010

Review Program: Kirkus Indie

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.