This is the only contemporary text to cover both epistemology and philosophy of mind at an introductory level. It also serves as a general introduction to philosophy: it discusses the nature and methods of philosophy as well as basic logical tools of the trade. The book is divided into three parts. The first focuses on knowledge, in particular, skepticism and knowledge of the external world, and knowledge of language. The second focuses on mind, including the metaphysics of mind and freedom of will. The third brings together knowledge and mind, discussing knowledge of mind (other minds and our own) and naturalism and how epistemology and philosophy of mind come together in contemporary cognitive science. Throughout, the authors take into account the needs of the beginning philosophy student. They have made very effort to ensure accessibility while preserving accuracy.
Evidence: Brook Andrew is an immersive installation and publication that draws on the rich and varied Museum of Applied Arts and Sciences collection to explore the theme of evidence. Brook Andrew is internationally recognised for his interdisciplinary practice that often interrogates knowledge systems, history, identity and race. In Evidence , Andrew weaves together unexpected and perhaps overlooked objects and materials from the MAAS collection with specially commissioned artworks, suggesting different ways of interpreting objects and their history. Featured objects include Governor Macquarie's chair, a 'black box' flight recorder, a Maralinga souvenir clock, a Brown Bess musket, a surgical table and colonial breastplates along with 19th-century ethnographic photographs. The installation opened at the Powerhouse Museum in October 2015. The publication will follow in early December and will include views of the installation as well as an interview with Andrew reflecting on his artistic philosophy and practice, an essay by legal academic Katherine Biber on the use of criminal evidence in art, and essays by MAAS curators that further explore the themes of evidence, stereotypes, interpretation and material culture through selected Museum objects.
Interrogates the politics of difference and, closely entwined, the implication of 'the gaze', and explores the promising yet fractured ground on intercultural engagement.
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