A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry. In Feeling Beauty, G. Gabrielle Starr argues that understanding the neural underpinnings of aesthetic experience can reshape our conceptions of aesthetics and the arts. Drawing on the tools of both cognitive neuroscience and traditional humanist inquiry, Starr shows that neuroaesthetics offers a new model for understanding the dynamic and changing features of aesthetic life, the relationships among the arts, and how individual differences in aesthetic judgment shape the varieties of aesthetic experience. Starr, a scholar of the humanities and a researcher in the neuroscience of aesthetics, proposes that aesthetic experience relies on a distributed neural architecture—a set of brain areas involved in emotion, perception, imagery, memory, and language. More important, it emerges from networked interactions, intricately connected and coordinated brain systems that together form a flexible architecture enabling us to develop new arts and to see the world around us differently. Focusing on the "sister arts" of poetry, painting, and music, Starr builds and tests a neural model of aesthetic experience valid across all the arts. Asking why works that address different senses using different means seem to produce the same set of feelings, she examines particular works of art in a range of media, including a poem by Keats, a painting by van Gogh, a sculpture by Bernini, and Beethoven's Diabelli Variations. Starr's innovative, interdisciplinary analysis is true to the complexities of both the physical instantiation of aesthetics and the realities of artistic representation.

A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry. In Feeling Beauty, G. Gabrielle Starr argues that understanding the neural underpinnings of aesthetic experience can reshape our conceptions of aesthetics and the arts. Drawing on the tools of both cognitive neuroscience and traditional humanist inquiry, Starr shows that neuroaesthetics offers a new model for understanding the dynamic and changing features of aesthetic life, the relationships among the arts, and how individual differences in aesthetic judgment shape the varieties of aesthetic experience. Starr, a scholar of the humanities and a researcher in the neuroscience of aesthetics, proposes that aesthetic experience relies on a distributed neural architecture—a set of brain areas involved in emotion, perception, imagery, memory, and language. More important, it emerges from networked interactions, intricately connected and coordinated brain systems that together form a flexible architecture enabling us to develop new arts and to see the world around us differently. Focusing on the "sister arts" of poetry, painting, and music, Starr builds and tests a neural model of aesthetic experience valid across all the arts. Asking why works that address different senses using different means seem to produce the same set of feelings, she examines particular works of art in a range of media, including a poem by Keats, a painting by van Gogh, a sculpture by Bernini, and Beethoven's Diabelli Variations. Starr's innovative, interdisciplinary analysis is true to the complexities of both the physical instantiation of aesthetics and the realities of artistic representation.

When someone is being treated for cancer, his or her self-image can be shattered. Suddenly, not only are you fighting for your life, a stranger is staring back at you from the mirror. Your hair is gone, your nails are brittle, your complexion is pasty -- everything changes. These changes attack your self-image and the very core of your physical and emotional identity. Many cancer patients continue working, going to school, and caring for their families while undergoing chemotherapy or radiation. Yet the side effects of these treatments often make patients feel too embarrassed or self-conscious to function at full potential. Ramy Gafni, one of New York City's top makeup artists and creator of the Ramy beauty therapy(r) cosmetics line, experienced these frustrations himself while undergoing treatment for non-Hodgkin's lymphoma at age 31. He utilised his knowledge of makeup techniques to minimise the 'pinched' and sallow look he developed during his treatments. In this beautiful, unique book, Gafni offers practical solutions for overcoming and managing the major dermatologic 'damage' done by cancer treatment -- hair loss, skin damage, sallow complexion.

Relax, Let Go, and Become Your Most Beautiful Self Mindfulness is a simple change we can all make for better health—emotionally, physically, and spiritually. In Mindful Beauty, New York-based dermatologist Dr. Debbie Palmer unveils her secrets to helping her patients develop more mindfulness and, in the process, cultivate inner peace and outer radiance. Today, more than ever, mindfulness—the act of being more present and focused in everything we do—is so important to our well-being. This book is a practical, hands-on guide to looking and feeling more beautiful in the modern-day world. It provides simple self-care tips and shows how to work with essential oils, crystals, chakras, nutrition, and more as you make positive changes in body, mind, and spirit. Mindful Beauty is the next, most important step on your journey to a more vibrant life.

Real spirit: when you get too wound up, you need to know how to unwind in order to feel strong, steady, and ready to deal.

If ten girls were asked to describe the "perfect" girl, they would likely rattle off an eerily similar list of qualities--from hair, skin, and weight to a cute button nose. That's a problem, because God has given girls a desire to be desirable. If girls think that they will be most wanted if they fit a one-size-fits-all image of "perfection," they will continually chase that proverbial carrot their entire lives. Backwards Beauty examines ten cultural lies young women listen to regarding beauty to help them unpack how they're looking at themselves through the wrong lens. The "tips to feel ugly" range from "compare yourself to every other girl" to "eat junk and diet, diet, diet." Reading a book by Jessie Minassian is like sitting down with a friend and talking about the hard things in life. Girls will be able to find freedom and hope in the midst of a culture that idolizes beauty.

A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry. In Feeling Beauty, G. Gabrielle Starr argues that understanding the neural underpinnings of aesthetic experience can reshape our conceptions of aesthetics and the arts. Drawing on the tools of both cognitive neuroscience and traditional humanist inquiry, Starr shows that neuroaesthetics offers a new model for understanding the dynamic and changing features of aesthetic life, the relationships among the arts, and how individual differences in aesthetic judgment shape the varieties of aesthetic experience. Starr, a scholar of the humanities and a researcher in the neuroscience of aesthetics, proposes that aesthetic experience relies on a distributed neural architecture—a set of brain areas involved in emotion, perception, imagery, memory, and language. More important, it emerges from networked interactions, intricately connected and coordinated brain systems that together form a flexible architecture enabling us to develop new arts and to see the world around us differently. Focusing on the "sister arts" of poetry, painting, and music, Starr builds and tests a neural model of aesthetic experience valid across all the arts. Asking why works that address different senses using different means seem to produce the same set of feelings, she examines particular works of art in a range of media, including a poem by Keats, a painting by van Gogh, a sculpture by Bernini, and Beethoven's Diabelli Variations. Starr's innovative, interdisciplinary analysis is true to the complexities of both the physical instantiation of aesthetics and the realities of artistic representation.