Originally published in 1985 this book explores, in four interwoven essays, the many ways human life and built form interact and the place that professional designing takes in this interaction. Together, the essays touch on a number of ideas: the idea that our position in space relative to the thing we are designing determines the methods we apply when designing it; the idea that designing is about making proposals, and is therefore a social act first of all; and the idea that agreements, consensus and above all conventions shape the act of designing things independent of their creative qualities.

Originally published in 1985 this book explores, in four interwoven essays, the many ways human life and built form interact and the place that professional designing takes in this interaction. Together, the essays touch on a number of ideas: the idea that our position in space relative to the thing we are designing determines the methods we apply when designing it; the idea that designing is about making proposals, and is therefore a social act first of all; and the idea that agreements, consensus and above all conventions shape the act of designing things independent of their creative qualities.

Plotinus (c.205-70) was a Neoplatonist philosopher, his work posthumously published by Porphyry and divided into six books, nine tractates each, called the Enneads. In this book Majumdar makes a valuable addition to the literature on his work, especially Ennead III.7(45)11-13 - in particular explaining Plotinus' cosmology using the genus-species model of soul, coordinating the literature on the appearance of time and the cosmos with that on the larger issue of Plotinian "emanation" and examining the role of tolma and the restless nature of soul in this conjoint appearance. This book investigates Plotinian "emanation," its laws of poiesis (contemplative making ) and the roles of nature, matter, logos, (rational formative principle) and contemplation and highlights the subtler details of Plotinus' cosmology by disentangling conceptual issues about the nature of soul and self ("we") and their impact on the process of generation of time and the cosmos.

Despite attracting the admiration of Modernists like Nabokov and Borges, Stevenson remains for many an apologist for the lost world of the romance. This is not only to misread and simplify his fiction, it is greatly to undervalue his lively, forward-looking literary essays. Strenously resisting the authority of the literary 'fathers' (though haunted by the complexities of paternity), Stevenson reveals strong affinities with emergent Modernism. It is from this perspective that Alan Sandison's latest book (the first to appear for nearly thirty years) conducts a lively and readable re-examination of this often underrated writer.