Tuesday, December 27, 2011

Get Free Ebook The Divine HierarchyBy Lawrence A. Babb

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The Divine Hierarchy
266 pp. An in-depth examination of spiritual hierarchies in central India.Keywords: HINDUISM RELIGION

  • Sales Rank: #601339 in Books
  • Published on: 1975-01-15
  • Released on: 1975-02-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .65" w x 5.88" l, .82 pounds
  • Binding: Paperback
  • 266 pages

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Friday, December 23, 2011

Get Free Ebook Kem Weber: Mid-Century Furniture Designs for the Disney Studios

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Kem Weber: Mid-Century Furniture Designs for the Disney Studios

Review

"In his authoritative new work, Kem Weber: Furniture Designs for the Disney Studios, Dave Bossert once again shows a fusion of erudition and passion for his subject, introducing a new generation to a remarkable and sadly-neglected artist, and documenting the significant and timeless cross-disciplinary design portfolio he created for Walt Disney."  —Jeff Kurtti, Disney historian and author, The Art of Tangled A feature article titled, "Dave Bossert Wrote the Book on Disney Animation Furniture" by Joanna Werch Takes. An interview with the author of Kem Weber: Mid-Century Furniture Designs for the Disney Studios, and his views on this unique specialty furniture that was the foundation for the creation of many of the Disney animated classics. —WoodworkersJournal.com"Walt Disney’s studio lot in Burbank was an animator’s utopia, thanks in large part to the designs of Kem Weber. His influence could be felt from the architecture of the buildings to the custom furniture created for the various animation disciplines. Disney fans have no doubt seen it before through behind-the-scenes photos or Disney Archives exhibits, but few have touched it or sat in it. But you’ll feel like you have when you read Dave Bossert’s newest book, a dream project called Kem Weber: Mid-Century Designs for the Disney Studios." —Alex Reif, https://www.laughingplace.com ​ Nominee: IBPA Benjamin Franklin Book Awards —www.ibpa-online.org/news/440987/31st-Annual-IBPA-Benjamin-Franklin-Awards.htmArticle on the KHTS News Website —http://www.hometownstation.com/santa-clarita-latest-news/santa-clarita-author-announces-early-november-book-release-date-253722Feature article on the new book Kem Weber: Mid-Century Furniture Designs for the Disney Studios, discusses the design period and furniture as part of a review of the book. —https://www.collectorsweekly.com/articles/disney-animator-desk/    This is a two page article spread in the Disney Vacation Club magazine Winter edition that is mailed on December 7th. —Disney Files Magazine/ Winter 2018, Volume 27, Number 4All About Mouse Central Podcast Episode #381 – Dave Bossert: Mid-Century Furniture Designs For the Disney Studios—November 19, 2018; This is a popular Disney fan based podcast."Dave Bossert, a veteran effects animator of the Walt Disney studio, was gifted the original Kem Weber-designed desk on his departure. His affection for this desk prompted a new monograph on Weber’s important design contributions to the Walt Disney studios in Burbank." —Patricia Zohn, www.culturezohn.comKem Weber: Mid-Century Furniture Designs for the Disney Studios was included in Los Angeles Magazine's "The Best Books About L.A. of 2018" review. —Interview, Los Angeles Magazine, https://www.lamag.com/culturefiles/best-books-about-la-2018/?fbclid=IwAR2oFv5_CEMDP_uTIvMmYVgNjZu3hlDG4lD1Pt22bpLVYqEtD_T8En6gAzM"Kem Weber Mid Century Furniture Design for the Disney Studios is a new book by David A. Bossert, animator, historian and author. If you’re not familiar with Kem, then you are in for a treat! I saw a release about the book and reached out to the publisher for a review copy. It showed up a few weeks later and I knew I wanted to do a sneak peek of the book for YouTube. Kem Weber was responsible for designing the Disney Studios in Burbank as well as all of the furniture, furnishings and the famous animation desks. Check out my video sneak peek about the Kem Weber book: https://www.youtube.com/watch?v=8bGvs2_sFzs" —George Taylor, ImagiNERDing"When author David A. Bossert left a long career in animation at the Walt Disney Studios, the company gave him the gift of his vintage animator’s desk to take home. The history of the dinged up, nicotine stained workhorse used by generations of artists intrigued him, and now we have the definitive guide to the work of a designer who not only created the studio buildings but the gorgeous and highly specialized furniture for the directors, writers, and animators who filled them. Weber’s original drawings are magnificent, and historic photos of the designer inspecting the work side by side with Uncle Walt highlights the level of detail that the Burbank studio has always been famous for." —Chris Nichols, Los Angeles Magazine

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About the Author

David A. Bossert is an award-winning artist, filmmaker, and author. He worked at The Walt Disney Company for more than 32-years and is now an independent producer, creative director, and writer. Bossert contributed his talents to The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King, Pocahontas, Tim Burton’s The Nightmare Before Christmas, Who Framed Roger Rabbit, Fantasia 2000, Destino and many others. He is a member of the CalArts Board of Trustees and is a visiting scholar at Carnegie Mellon University's Entertainment Technology Center (ETC) in Pittsburgh. Bossert is an authority on Disney animation history and has written numerous articles, liner notes, and concert program notes related to animation. He co-authored Disney Animated, which was named iPad App of 2013 by Apple and won a prestigious British Academy of Film and Television Arts (BAFTA) award. He lives in Los Angeles, California.

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Product details

Hardcover: 136 pages

Publisher: The Old Mill Press; None ed. edition (November 30, 2018)

Language: English

ISBN-10: 173260200X

ISBN-13: 978-1732602007

Product Dimensions:

11 x 0.7 x 8.5 inches

Shipping Weight: 2 pounds (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

13 customer reviews

Amazon Best Sellers Rank:

#130,292 in Books (See Top 100 in Books)

I'm NOT a book reviewer! Just got my copy today, so no word-by-word review will be forthcoming. However, I perused the book. Serious reading will come later. My earlier thoughts were that I don't care about furniture, why should I care about this book? Three reasons: 1) I've learned to trust specific Disney-related authors. Dave Bossert is one of them. If he publishes something, I've gotta give it some serious consideration. 2) Dave's DocuMinute videos on Facebook. Brilliant, Dave. You had me at "Hi, I'm Dave Bossert, here at the Disney Studio." I was undone! You could have been selling brushes, and I'd be on board! 3) Photos, photos, photos!! I've simply thumbed through the book. I'm sure the text will be awesome, but there are so many photos I've never seen before. So, yes... this book is about Kem Weber, his designs, and his furniture. But it's more!! It's about the Disney Studio in the late 30's and early 40's, and it is well worth your consideration! Humbly submitted from this totally unqualified book reviewer.

The relationship Kem Weber had with Walt Disney and the Disney Studios is fascinating. The animator's desk that Kem created is, in my opinion, a masterpiece. I can only imagine the animators sitting at their desk with the sunlight flowing through the windows of the Disney Studios in Burbank years ago. Probably my favorite is the Air Line Chair, a design years ahead of it's time.Dave Bosset's writing style gives the reader a wonderful glimpse into the history and designs of Kem Weber. This book is a must have for any Walt Disney historical fan.

First off, these designs are not “mid-Century.” The title is misleading, and I suspect the author gave it that title because of the current popularity of “mid-century” aesthetics. Kem Weber worked in the “streamline” style of the 1920s and 1930s. His designs for Disney’s Burbank studios were heavily influenced by the era, and not indicative of the “mid-century” design era that followed during the post-War era. But, this book is well put together, with great images of the furniture. Though, the author inserts amateurish iPhone photos of current places throughout the book, for unknown reasons (probably too cheap to hire a photographer or purchase rights of professional photos). The book has many interesting images of Weber’s designs and how they were used in the Burbank studios. But this book will only be for people that are uniquely obsessed.

Over the years I knew of Kem Weber as the designer of the furniture around the Disney animation studio. It had a beautiful sleek design, but remained functional, and many artists who worked on it often held a reverential appreciation for Weber. I know this, because I worked at the studio, and even today I own some of the more modern recreated Weber furniture that the studio parted with when they decided to be primarily a digital production facility. One thing I did NOT know, was that Weber also designed the actual studio, too. It all makes sense now that there was such a cohesive visual look to the buildings as well as the furniture, and even the signage around the studio. Dave Bossert's book wonderfully delves into the history of Weber's involvement with Walt Disney, complete with conceptual drawings and photographs to elevate the appreciation of Weber's designs. It is a must have for anyone interested in hand-drawn Disney animated movies. After all, Kem Weber provided the foundation upon which Disney greatness was made.

Once again, Dave Bossert has crafted a wonderful look at a piece of our recent history. This time instead of looking at the animation that made Disney such a household name, he looks at the furniture those classic animated films were drawn on. The furniture you say? YES. Just as Disney and its artists meticulously crafted each animated film and short, so to were the desks, chairs, lights and buildings they worked in. Its a great piece of mid-century history that has, until this point never been told. Kem Weber's genius is on full display here with incredible photographs all laid out and told with such love and reference for the source material. Dave has produced another fantastic book tat is worth not only your time but a worthy addition to your collection.

This book by David Bossert is a real gem. From the beautifully wood-grained book cover, to the elegant, color architectural drawings by Kim Weber and the rich and lavish printing of photographs, not to mention the carefully researched historic prose behind the construction of the Disney Studio in 1938 and the design of animation furniture... this book itself is a work of art.

This book is a production design masterwork. Informative for anyone, but a must have for the Disney / mid-century Modern aficionado. The gorgeous pages contain high-gloss images on eggshell.

Undoubtedly this book is a must for all Disney fans. The author, David A. Bossert realates the essence of both the designer Kem Weber and his boss and mentor, Walt Disney.

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Monday, December 19, 2011

PDF Ebook Processing: A Programming Handbook for Visual Designers and Artists (The MIT Press)

PDF Ebook Processing: A Programming Handbook for Visual Designers and Artists (The MIT Press)

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Processing: A Programming Handbook for Visual Designers and Artists (The MIT Press)

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Processing: A Programming Handbook for Visual Designers and Artists (The MIT Press)


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Processing: A Programming Handbook for Visual Designers and Artists (The MIT Press)

Review

This essential book is a tool for unlocking the power of Processing. With this completely revised edition, Casey Reas and Ben Fry show readers how to use Processing for thinking, making, and doing. This remarkable software environment has opened the world of code to designers, architects, musicians, and animators. Providing a powerful alternative to proprietary software, Processing speaks to self-education and networked engagement.―Ellen Lupton, Director of the graphic design MFA program at Maryland Institute College of Art, Baltimore, and author of Thinking with Type and Type on ScreenProcessing has unlocked the potential of software as a creative medium by integrating a programming language and development environment and linking computation and the visual arts. This revised handbook provides expertly designed and invaluable tutorials that introduce the syntax and concepts of software and position it in the field of arts. Interviews with renowned artists give insight into the creation of their landmark software projects, illustrating how programming is applied in art.―Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum of American ArtIn addition to what you can expect―a great compendium explaining the software's features and applications―the second edition of Processing comes with a well-curated series of interviews with artists and designers for whom software is key to their work. These exceptional insights into artistic practice contribute to the writing of history of software-based art and design and contextualize Processing in an adequate way.―Joachim Sauter, University of the Arts Berlin, Founder and Creative Director of ART+COM

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About the Author

Casey Reas is Professor of Design Media Arts at UCLA and coauthor of Processing: A Programming Handbook for Visual Designers and Artists (MIT Press, 2007).

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Product details

Series: The MIT Press

Hardcover: 672 pages

Publisher: The MIT Press; second edition edition (December 19, 2014)

Language: English

ISBN-10: 9780262028288

ISBN-13: 978-0262028288

ASIN: 026202828X

Product Dimensions:

7 x 1.1 x 9 inches

Shipping Weight: 2.4 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

57 customer reviews

Amazon Best Sellers Rank:

#240,726 in Books (See Top 100 in Books)

My son decided he wanted to move up from Logo so we introduced him to processing. This book was purchased along with Getting Started with Processing and Processing: Creative Coding and Generative Art.This book was added to our collection specifically because it takes a more academic, detailed and complex approach, attempting to create a more serious introduction to software development through the lens of processing.For my son, once he was able to fluently move through processing and create wonderful and engaging sketches quickly this became his go to book for deepening his applications and understanding of what is possible.Highly recommended but it is a little more advanced, but don't let that stop you, its so much fun you will rise up to the challenge and be a better processing developer for it!

This book is, quite simply, a godsend. If you are an artist that enjoys tinkering with all things technological (especially an artist that enjoyed mathematics or beating up your computer in high school lab class) than it's certainly for you. If, on the other hand, you are the type of person that hopes to breeze though this and start applying "techie things" to your video art, then you are in for a let-down...it IS a bit tough for someone that has never played with a computer programming language. No way around it, you're going to have to WORK!!But, that's the thing. You're supposed to work, massage, twist, graft, apply, subtract and otherwise mangle these functions and commands until they do some (random, unexpected) beautiful thing. This is exactly what the authors want you to do. Take their simple equations and use your imagination to change them up a bit and make your own.And, a big plus is how the whole book is structured. It starts with simple enough topics and progressively increases in difficulty, BUT, and here is the stroke of genius for artsy types, it does so by switching the topics here and there from shapes, to type, to math, to random, to trig, to type again, back to shapes...etc. So, you see, it's structured (if you read from cover to cover in a linear fashion) in a way that will NOT bore the reader in any way. It's as if Reas and Fry knew that most of us artsy types were (completely and hopelessly) ADHD and needed this kind of variety to keep our interest (lord knows they probably wish they did, coming from artistic backgrounds before entering MIT as grads). And, as an added bonus, if you are the kind of person that likes the topics all neatly together, there is a second topical index behind the main index so you can jump through the book by topic.In closing, Reas and Fry have done us "new media" types a great service by developing a trimmed-down form of Java programming so that we don't have to do the heavy work and learn full-blown Java or C++ on our own (though, after using this language, the hope is that it WILL get us "artsies" to learn those higher level languages and make genre-smashing art). So, get going!P.S. The only thing I wish this book had were MORE Exercises at the end of each topic. Or, a workbook that had more problems to solve, like my old Calculus text that had 30 problems after each section. Guys, could we, just maybe, extend the problem sets in a future edition, from three to maybe 10? It would be much appreciated! :)

As a high school physics teacher with a lot of advanced students, I've been trying to work a bit of computer programming into the course over the last few years. I always wanted to do graphics programming with the students in order to help them visualize and simulate systems, because the pictures produced are a lot prettier and more rewarding than just the formulas on their own, but the languages I tried were just too difficult to teach from scratch in the time we had. Processing seems to be just what I'm looking for: it's free so the kids can download it themselves, and it really doesn't take much to produce stunning graphics. Now I would NOT recommend the book to someone with no programming experience at all - the emphasis of the book is clearly (and rightly) on how to get up to speed making images, not on what a variable is. That said, this book is a terrific resource for me; anyone with a basic programming course under their belt ought to have no trouble making sense of Processing's syntax, and the power of the language is phenomenal. The authors have done a fine job of both explaining the use of the Processing language, and showing off what it can do with all the examples. Processing is letting me do what I always wanted to do with a computer - make stunning graphics from mathematical information - at a level high school students can understand. If you are at all interested in Processing, download the free software and go here next.

This is an excellent introduction to Processing by the creators of the language. It is extremely well-written and a pleasure to read. It may also be the only programming book I've purchased (and I've purchased a lot of them) free of coding errors.

This is a great text, from the authors of the software itself. I'm only through the first hundred pages or so, but it's a fairly well-presented volume of information split into easily digested chapters, on everything from the command structure for creating graphics to the math that governs such efforts. The authors cover not only the rationale behind their own programming language, but also touch on the thinking behind digital graphic and artworks as a whole...While the chapters are a little scattered for the linear reader (e.g., certain of the mathematical function chapters are broken and split into chapters that would flow a little better with no break between them), the authors are fairly clear in their intro and table of contents that the text is meant to be read and digested in a variety of ways, linear being only one method.There are a few problems with the explanations of some of the syntax and command structure, but overall, the book is a sound investment for a newby like myself, who hasn't visited programming in a number of years, and needs a primer/refresher, as well as a source for the more advanced coding artist. I recommend the book without reservation.

Very well written with more explanation on the language than other books I've read. Highly recommended.

Good for use with a class, but unless you really play around with the code examples it's a reference book. And that's fine, because you have to apply code to learn it anyway.

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Friday, December 16, 2011

Ebook Download The CarpetbaggersBy Harold Robbins

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  • Sales Rank: #495352 in Books
  • Published on: 1961-01-01
  • Number of items: 1
  • Binding: Hardcover
  • 613 pages

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Monday, December 12, 2011

Download PDF From Novice to Expert: Excellence and Power in Clinical Nursing Practice, Commemorative Edition

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From the Back Cover

This coherent presentation of clinical judgement, caring practices and collaborative practice provides ideas and images that readers can draw upon in their interactions with others and in their interpretation of what nurses do. It includes many clear, colorful examples and describes the five stages of skill acquisition, the nature of clinical judgement and experiential learning and the seven major domains of nursing practice. The narrative method captures content and contextual issues that are often missed by formal models of nursing knowledge. The book uncovers the knowledge embedded in clinical nursing practice and provides the Dreyfus model of skill acquisition applied to nursing, an interpretive approach to identifying and describing clinical knowledge, nursing functions, effective management, research and clinical practice, career development and education, plus practical applications. For nurses and healthcare professionals.

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Excerpt. © Reprinted by permission. All rights reserved.

Preface This book is based on a dialogue with nurses and nursing, descriptive research that identified five levels of competency in clinical nursing practice. These levels — novice, advanced beginner, competent, proficient, and expert — are described in the words of nurses who were interviewed and observed either individually or in small groups. Only patient care situations where the nurse made a positive difference in the patient's outcome are included. These situations offer vivid examples of excellence in actual nursing practice. They are not abstract ideals, however; they emerge from the imperfections and contingencies with which nurses work daily. A Note to the Skeptics Some who read the exemplars will be skeptical that such nursing is possible. Their skepticism is warranted, because these examples are drawn from outstanding clinical situations where the nurse learned something about her practice or made a significant contribution to a patient's welfare. But if the reader's skepticism stems from a generalized disillusionment with nursing in hospitals and from the belief that nurses are rendered impotent to give compassionate, lifesaving care in hospitals — then this book offers a resounding rebuttal to the skeptic and a ray of hope to the disillusioned. The Perceptual Origins of Excellence This book questions some of nursing's most dearly held beliefs and assumptions. The book asserts that perceptual awareness is central to good nursing judgment and that this begins with vague hunches and global assessments that initially bypass critical analysis; conceptual clarity follows more often than it precedes. Experienced nurses often describe their perceptual abilities using phrases such as "gut feeling," a "sense of uneasiness," or a "feeling that things are not quite right." This kind of talk makes educators and clinicians uncomfortable, because the assessment must move from these perceptual beginnings to conclusive evidence. Expert nurses know that in all cases definitive evaluation of a patient's condition requires more than vague hunches, but through experience they have learned to allow their perceptions to lead to confirming evidence. In the quest for a scientific rationale, the importance of perceptual skills can be overlooked by any clinician — nurse, physician, or counselor. If nurses were disembodied computers or mechanical monitoring devices, they would have to wait for clear, explicit signals before identifying one singular feature of a problem. Fortunately, however, expert human decision makers can get a gestalt of the situation and proceed to follow up on vague, subtle changes in the patient's condition with a confirmatory search aided by the whole health care team. Experts dare not stop with vague hunches, but neither do they dare to ignore those hunches that could lead to early identification of problems and the search for confirming evidence. The Importance of Discretionary Judgment Considering the early history of nursing education in this country, I am concerned that the model of skill acquisition described here could be misinterpreted as advocating informal trial-and-error learning. Therefore, it is important to point out that the Dreyfus Model of Skill Acquisition was originally developed in research designed to study pilots' performance in emergency situations. In that context, no one worried that people might misinterpret the model and suggest that the pilot should just go out and "get the feel of the plane" through trial and error; under those circumstances the beginning pilot would not even survive basic training. The same holds true for nursing. Providing nursing care involves risks for both nurse and patient, and skilled nursing requires well-planned educational programs. Experience-based skill acquisition is safer and quicker when it rests upon a sound educational base. This book's purpose is to present the limits of formal ales and call attention to the discretionary judgment used actual clinical situations. This does not place the expert a special, privileged position outside the principles of physiology, nursing, and medicine. The book does not advocate a chaotic or anarchical position that would claim there are no rules — that would confer a license, for instance, to ignore the rules of asepsis simply because sterile technique must be sometimes ignored in life-and-death emergencies. Attending to the particular contingencies of a situation does not warrant the inclusion that the general principles governing that station can be generally ignored. My position is not a careless recommendation for the abandonment of rules. Instead, I am claiming that a more skilled, advanced understanding of the situation allows orderly behavior without rigid rule following. Once the situation is described, the actions taken can understood as orderly, reasonable behavior that demands of a given situation rather than rigid principles and rules. More descriptive rules could be generated to allow for multiple exceptions, but the expert would still function flexibly in other new situations requiring new exceptions. The book addresses the risky, situation-specific decisions that are usually covered up but that nurses face daily in their practice. Menzies (1960) referred to hiding behind rules and policies as a defense against anxiety, a coping strategy. But as a coping strategy it is unrealistic and creates the additional burden of lack of recognition and legitimization of actual nursing performance. Reflecting the Realities of Practice Readers would probably prefer that I had chosen only exemplars reflecting ideal collaborative behaviors and ideal relationships with physicians. In fact, nursing administrators and physicians have warned me that they do not like the exemplars showing the doctor-nurse relationship in a bad light. I, too, wish that in conducting this study I had found only enlightened, collaborative relationships between nurses and physicians, but that would have been fiction and not descriptive research — an ideal model instead of an empirically tested one. If there is a bias, it is probably in the other direction: that troubled nurse-physician exchanges are under-represented, given the amount of interview time nurses spent describing troubled interactions. In the real world, nurses and physicians alike have good and bad days; some are frankly incompetent. When immediate physician attention to a crisis is not available, the nurse fills the gap far more often than is formally acknowledged. We can claim that this is not nursing, but we do so only by ignoring what nurses actually do. Therefore, skilled performance was considered excellent because, even lacking the best of circumstances (e.g., collaborative relationships or formally acknowledged nursing functions), the nurse procured or did what was needed for the patient. By attending to the ideal and presenting only what we hope to become, we would miss much of what is significant about our actual practice. Not knowing who and what we are about now will seriously impede what we want to become. A Kaleidoscope of Intimacy and Distance The reader would be correct to question the representativeness of this work. The goal was not to describe a typical day or hour but rather the highlights, the ,growing edges of clinical knowledge. The participants were asked to present clinical situations that stood out in their minds. Nurses make many contacts with patients daily; most of the time they are unaware of the impact their interventions have on the patient's recovery. Many of these contacts and interventions are routine and not even remembered by the nurses. In other words, the nurse-patient relationship is not a uniform professionalized blueprint but rather a kaleidoscope of intimacy and distance in some of the most dramatic, poignant, and mundane moments of life. The mundane moments were not captured because this research strategy asked specifically for outstanding clinical situations. So this bias remains, even though we asked for descriptions of both typical and unusual days. Since we sought to describe skilled performance, deficits were not the point of inquiry, there are no negative examples of deficits identified (see Fenton, pp. 262-74 for an example of identification of deficits). Not an End but a Beginning I am concerned about hasty system builders who will want deify the 31 competencies described or who might want p complete the list, as though there were a finite list of competencies that can be captured for all time. Ending with 31 is indeed a bit whimsical, but the intent of this work is to encourage nurses to collect their own exemplars and to pursue the lines of inquiry and research questions raised by their own clinical knowledge. This work presents new ways to view nursing practice so that we do not continue to limit the description of such practice to a simplified, linear, problem-solving process. Such uniformity and constriction limit our understanding of the complexity and significance of our practice. As one nurse said with a note of realization, in a group discussion: "You know, I acted very quickly and saved a baby's life today. That's not insignificant!" It seemed that she had failed to take account of the import of her actions in her earlier analytical reporting. I am grateful to colleagues who have enriched this work by providing descriptions — an early map, so to speak — of the practical applications of this work (see Epilogue). Patricia Benner

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Product details

Paperback: 336 pages

Publisher: Pearson; 1 edition (October 20, 2000)

Language: English

ISBN-10: 0130325228

ISBN-13: 978-0130325228

Product Dimensions:

5.2 x 0.8 x 8.2 inches

Shipping Weight: 10.4 ounces (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

64 customer reviews

Amazon Best Sellers Rank:

#42,189 in Books (See Top 100 in Books)

Good book, but it really just states the obvious. It lists the skills that expert nurses possess.

I use it often for refence and loaned it often until someone diodn't return it. I need a new one. It is my favorite source of encouragement for students and new grads.

Classic book on pedagogy for nursing educators

I got my booktoday. It is in great condition. I am looking forward to reading it. Thank you very much.

Good book

The beginning is a bit dry, however once you get past that it is really interesting. I am about half way through the book and it has been a great read. I am currently reading the book for a nursing class however plan to reread the book after the class is over.

i got this at the advice of someone else. it wasnt what i thought it would be. but it certainly is a great book for new and seasoned nurses.

necessary

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  • Sales Rank: #3388611 in Books
  • Published on: 2002
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