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Is feeling a phenomenon of the body or the brain? What do animals feel? How do living systems become conscious? Taking Heart and Making Sense takes on these and many more questions about the natural world and human experience, helping us to understand our feelings and emotions, and our sense of meaning in life. Taking Heart and Making Sense takes readers on a conceptual adventure across many disciplines, presenting contemporary theories about feeling and emotion by major researchers in psychology, philosophy and cognitive science. Lindgaard points out themes as well as problems in these theories, and frames them in relation to our fundamental concepts about the world. Solving these problems requires nothing less than a profound shift in worldview.This new worldview is based on the concepts of change, process and relation. It supports coherent explanations of feeling, consciousness and life itself. Feeling is understood as an inner sensing that arises from the whole body. Human beings are seen as unique and individualised as well as deeply interconnected, with each other and with the natural world. This perspective stands as an alternative to prevalent views in contemporary neuroscience, which characterise consciousness as an isolated hallucination or a direct effect of neural processes alone, and feeling as a meaningless by-product of homeostasis. Taking Heart and Making Sense contends instead that consciousness emerges first as feeling at the level of the whole body. Feeling is a mode of understanding in and with the whole body in the world.

"If there was only one book to get on the subject, this would be it. Great history - should be required reading." - reader review"Useful to tie my knowledge segments together. This book explains why we should stay aware of new happenings to see if they tie in to the end of our sovereignty." - reader reviewIn 1967, Myron Fagan released a three-LP set titled Illuminati. This recording has been transcribed (you can hear the original audio here) and the text has been used to create this edition, published in 2017 by A Distant Mirror in paperback, Kindle and epub formats.Myron Fagan reveals the plot for global enslavement launched two centuries ago by Adam Weishaupt, an apostate Catholic priest who, financed by the House of Rothschild, created the organisation which he named the 'Illuminati'. Fagan describes how this group has been used by the House of Rothschild to work towards a world government, and how every war during the past two centuries has been instigated by them.He describes how Jacob Schiff was sent to the United States by the Rothschilds to further the Illuminati plot, and how he was able to gain control of both the Democratic and Republican parties. He shows how Schiff seduced the American Congress and Presidents so as to achieve control of our financial system, and create the cancer of income tax. He also reveals how Schiff and his co-conspirators created the Council on Foreign Relations, in order to control our elected officials and gradually lead the U.S. into becoming part of a luciferian world government.In short, this is the fascinating, horrifying - and factual - story of the most sensational plot in the history of the world. Fagan lays out the history of the Illuminati, exposing the plot for a single world government. The author gives names, dates, organizations, modes of operations - all exposing the Satanic octopus that to this day seeks to strangle the world in its grip. This book exposes the entire history of the plot - the Rothschilds, Zionism, the Luciferian ideology, the destruction of national sovereignty and religions, the role of Freemasonry, the Illuminist banksters and media, and the plans for three World Wars.

"Our agriculture is wrongly based. It is a system largely directed at curing evils which it itself is responsible for. It is the wisdom of the country and the traditional farmers we need now; the wisdom of those who have built up long-lasting agriculture and whose wisdom lies in tradition. They have fashioned it through physical work and close and immediate observation; through the personal intimacy with nature which we have come to associate with the poet.In fact, peasant life is poetic, and it is so precisely because of this intimacy. The music, dance and art of peasants are the creative expression of their lives, and as such are characteristic of their environments and the land on which they live.Nothing collective or traditional, as peasant life is, originates from people separated from the soil, as are townfolk.The poems and essays that played a notable part in the country life of the Chinese, the Tibetan art which finds its way into every home, the sylvan setting of Japanese villages, of the Balinese and Burmese, the vocal harmony of Swiss peasants returning from their fields, the reproduction of floral beauty and colour in festive dress of so many countries; these are the product of the poet that lies in every peasant's heart.It is this intimacy that inspires creativity in the poet, as the Greeks recognized in their choice of word for poet, namely, a 'maker' or creator, and which Dante voiced in the Divine Comedy, when he wrote that the poet was not the disciple of the imagination, but rather one who knows the secrets of nature."- Guy WrenchCONTENTSIntroductionRomeThe Roman FoodsThe Roman FamilySoil Erosion in ancient RomeFarmers and NomadsContrasting PicturesBanks for the SoilThe Economics of the SoilThe English PeasantPrimitive FarmersNyasaTanganyikaHumanity and the EarthSind and EgyptFragmentationThe East and West IndiesThe German Colonies: The MandatesRussia, South Africa, AustraliaThe United States of AmericaA Kingdom of Agricultural Art in EuropeAn Historical ReconstructionSummaryA Plan for Action

Eugene Marais spent three years living in the South African wilderness in close daily contact with a troop of baboons. He later described this as the happiest, most content time of his troubled life. This period produced two works which are testament to his research and conclusions; they have very different histories.Firstly, there was a series of articles written in Afrikaans for the newspaper Die Vaderland. They were then published in book form under the title Burgers van die Berge, and were first published in an English translation in 1939 under the title My Friends the Baboons. These pieces were written in a popular vein suitable to a newspaper readership, and were not regarded very seriously by Marais himself. They are a journal; a series of anecdotes and impressions.The Soul of the Ape, which Marais wrote in wonderfully clear and precise English, was the more serious scientific document; however after his death in 1936, it could not be found. It was lost for 32 years, and was recovered in 1968, and published the following year.The excellent introduction by Robert Ardrey that is included in this volume was part of the 1969 and subsequent editions of The Soul of the Ape, and adds greatly to an appreciation of its importance.Together, these three texts give us as complete a picture as we will ever get of Marais' three year study of these complex relatives of humanity, and its implications for the study of consciousness.Eug¿ne Marais is also the author of The Soul of the White Ant, his exploration of the psyche and social life of the termite. It was always his intention that the two bodies of work, on termites and apes, were companion pieces in the search for an understanding of the psyche that would span the gulf between the insect and primate worlds. The point of Marais' work was, always, the mystery of consciousness itself, on which grounds it is as relevant as ever."He offers a vision of nature as a whole, whose parts obey different time-laws, move in affinities and linkages we could learn to see: parts making wholes on their own level, but seen by our divisive brains as a multitude of individualities, a flock of birds, a species of plant or beast. We are just at the start of an understanding of the heavens as a web of interlocking clocks, all differently set: an understanding that is not intellectual, but woven into experience. Marais brings this thought down into the plain, the hedgerow, the garden." - Doris Lessing in The New Statesman