Identifier: TheJoyOfSex. Identifier-ark: ark://tj. Ocr: ABBYY FineReader (Extended OCR). Ppi: Scanner: Internet Archive. The joy of sex [electronic resource (EPUB eBook)]: [the timeless guide to lovemaking] / Alex Comfort. Beautifully designed and lavishly illustrated, The Joy of. EpubDrive The Joy of Sex The Joy of Sex is an illustrated sex manual by British an updated edition was released in September download pdf epub kindle.
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Here, I just want to deal with the metadata issue. Fortunately the workarounds here are simple. Metadata The metadata includes information on the book or document title, author, publication date, publisher, etc.
It is meant to be incorporated into the ebook file — but very often, especially for pdf documents, there is no incorporated metadata, or the data is not suitable.
Add the fact that many pdf files do not have descriptive names eg.
If your files have metadata included a cataloguing programme or an eReader will display the correct information, whatever their file name. If not you are usually stuck with the non-informative filename. Fortunately, changing or adding metadata to a file is quite simple.
Here are two places you can make the changes — in the cataloguing programme and in the file itself. Cataloguing with Calibre Most serious eBook users eventually get hold of the free programme Calibre.
A while back I found its very useful cataloguing feature see Calibre tips and tricks: article on cataloguing.
I use this to produce a catalogue of all my books, in an ePub format which I then transfer to my eReader. It has hyperlinked authors, titles, and other useful information on each book.
This includes short reviews, publishers information, cover images and format information for my collection. I update it often.
Once a book is added to Calibre the metadata can be added or edited very easily. This happens through automatically consulting on-line databases and the metadata available includes reviews, publishers information, cover images, etc. This is all very useful — but the metadata changes occur in the Calibre database, not in the file unless the conversion process is used.
The emotional impact was huge.
The joy was very high. I wanted that experience again. I wanted it a lot. My mind and body remembered every detail of that experience and did everything right to have that experience again. However, conditions had changed. Failure was inevitable. The cyclic deteriorating fallacy of personal experience works like this.
We seek a result. Three more sell. The rest garner rejections. We would probably look at the other two as well. Suppose we discover that each story had an unrequited love element, a female protagonist with red hair, and a mountain resort. Well, that one should have the best details for allowing us to sell more since we already did the love, femred, and mountain bit.
It happened during ski season at the mountain resort. So, now we write stories that have love, femreds, winter ski resorts. In the same way that physics is a bitch, underlying principles of story are a bitch. Trial-and-error is biased in favor of the cyclic deteriorating fallacy of personal experience. In the same way making all the same moves in the hang glider resulted in a crash, isolating the apparent patterns of success from successive successful stories will result in a crash.
Unless… We are very clear that the analysis and subsequent attempts to create results must include expansive experimentation based on principles rather than emotional impressions of success or failure. I call that playful experimentation a. Adding the ceaseless, restless part is the important bit to me. The ceaseless, restless bit means that I must constantly test my world and my boundaries. Instead, I have bent genres and searched for how one informs another.
I have assumed, sometimes incorrectly, that each genre has its own tricks and techniques to teach me. I have assumed that experimentation across genres would bring me insights and techniques that could not be had as long as I returned to the same hill where I had success and attempted to fly in exactly the same way as when I had that success. To beat the fallacy of cyclic deteriorating personal experience, apply the principle of unsupervised play.
In fact, to keep writing from getting stale, I recommend many of the techniques used by children. In another essay, I describe the parallel play process, which in turn came from the restless, ceaseless experimentation with words and tales and forms and processes. Playful experimentation requires several things adults are often in short supply of. First, it requires the ability to completely divorce oneself from any sense of risk.
That is, the story a writer is playing with must not be under deadline. It must not be part of an expectation of material or pride success. It must not be for this magazine, that anthology, to that publisher. Playful experimentation requires the worry-free mindset of a child exploring a newly discovered, vacant field. The writer must be able dash there, and there, and over there while also pausing to pick up a stick to slash at weeds or turn into the spear of Ajax or into a rifle or crutch.
Second, it requires a sense of whimsy combined with a desire to understand. To approach writing as a thing of rigid process is not playful. To get to a space of discovery, the writer must be willing to do things that seem stupid in the moment but then, unexpectedly, force the subconscious to step in to create a pattern that becomes the discovery. Third, it requires an idea of what can be done.
Forcing the hang glider to go up without an updraft does not work. The principles of aerodynamics and gravity do not allow it.
For example, most writers know that stories generally create emotional changes in characters by stressing those characters through conflict.
It is a universal principle of stories. Some writers I know argue that without it, the text is not a story and falls to the category of mere personal essay or memoir.
I would argue that few personal essays or memoirs are not stories. I would also argue that most, if not all, powerful personal essays and memoirs revolve around some core conflict. I digress. Taking the underlying principle of conflict, one approach to ceaseless, restless experimentation is to employ the principle in an experiment of randomness.
Pick a handful of silly things and try to employ the principle of conflict while connecting the silly things. Personally, I often pick a principle, roll a set of ten-sided dice several times to come up with three or more random, four-digit numbers, then find those numbers on a long list of observations, objects, insights, and thoughts that I keep. I put those randomly selected elements at the top of a page then write as fast as I can in an effort to execute the principle.
The randomness of the objects forces the subconscious to attempt to create a pattern connection between the objects. The chosen principle forces a construct that will either succeed or break. Either way, something is gained from the effort. Sometimes, seeing a failure unfold reveals new patterns, new methods of allowing the reader to see or feel the moment on the page.
Sometimes, seeing the experiment succeed within the structure of the principle results in new understanding and skill in the execution of the principle. Worst case for the above experiment is that the writer has fun and the brain is given a set of patterns principles to which it becomes tuned and to which it begins to, or continues to, adapt.
The important piece from the above is not the process. The important piece is that principle combined with play is a type of practice that keeps writing fresh and keeps the writer on a path of discovery that deadline-driven work, paid-for work, pride-driven work cannot provide.
Mindfulness of underlying principles combined with playful experimentation results in discovery. Had I considered the principle of aerodynamics and approached the day with a less rigid focus on succeeding with the defined exercise, I might have had more fun and been more inclined to discover what I could do on that day and in the days to come.
A week later, I did go back and fly again. I did it because I had decided to quit flying because I could not trust my ADHD brain to focus on all the conditions that allow a person to fly safely.