We're used to thinking about the self as an independent entity, something that we either have or are. In The Ego Tunnel, philosopher Thomas Metzinger claims otherwise: No such thing as a self exists. The conscious self is the content of a model created by our brain - an internal image, but one we cannot experience as an image. Everything we experience is ''a virtual self in a virtual reality.'' But if the self is not ''real,'' why and how did it evolve? How does the brain construct it? Do we still have souls, free will, personal autonomy, or moral accountability? In a time when the science of cognition is becoming as controversial as evolution, The Ego Tunnel provides a stunningly original take on the mystery of the mind.
According to Thomas Metzinger, no such things as selves exist in the world: nobody ever had or was a self. All that exists are phenomenal selves, as they appear in conscious experience. The phenomenal self, however, is not a thing but an ongoing process; it is the content of a "transparent self-model." In Being No One, Metzinger, a German philosopher, draws strongly on neuroscientific research to present a representationalist and functional analysis of what a consciously experienced first-person perspective actually is. Building a bridge between the humanities and the empirical sciences of the mind, he develops new conceptual toolkits and metaphors; uses case studies of unusual states of mind such as agnosia, neglect, blindsight, and hallucinations; and offers new sets of multilevel constraints for the concept of consciousness. Metzinger's central question is: How exactly does strong, consciously experienced subjectivity emerge out of objective events in the natural world? His epistemic goal is to determine whether conscious experience, in particular the experience of being someone that results from the emergence of a phenomenal self, can be analyzed on subpersonal levels of description. He also asks if and how our Cartesian intuitions that subjective experiences as such can never be reductively explained are themselves ultimately rooted in the deeper representational structure of our conscious minds.
An engaging and insightful journey into human consciousness. What if our goal had not been to land on Mars, but in pure consciousness? The experience of pure consciousness—what does it look like? What is the essence of human consciousness? In The Elephant and the Blind, influential philosopher Thomas Metzinger, one of the world's leading researchers on consciousness, brings together more than 500 experiential reports to offer the world's first comprehensive account of states of pure consciousness. Drawing on a large psychometric study of meditators in 57 countries, Metzinger focuses on “pure awareness” in meditation—the simplest form of experience there is—to illuminate the most fundamental aspects of how consciousness, the brain, and illusions of self all interact. Starting with an exploration of existential ease and ending on Bewusstseinskultur, a culture of consciousness, Metzinger explores the increasingly non-egoic experiences of silence, wakefulness, and clarity, of bodiless body-experience, ego-dissolution, and nondual awareness. From there, he assembles a big picture—the elephant in the parable, from which the book’s title comes—of what it would take to arrive at a minimal model explanation for conscious experience and create a genuine culture of consciousness. Freeing pure awareness from new-age gurus and old religions, The Elephant and the Blind combines personal reports of pure consciousness with incisive analysis to address the whole consciousness community, from neuroscientists to artists, and its accessibility echoes the author’s career-long commitment to widening access to philosophy itself.
In Thomas Ligotti's first nonfiction outing, an examination of the meaning (or meaninglessness) of life through an insightful, unsparing argument that proves the greatest horrors are not the products of our imagination but instead are found in reality. "There is a signature motif discernible in both works of philosophical pessimism and supernatural horror. It may be stated thus: Behind the scenes of life lurks something pernicious that makes a nightmare of our world." His fiction is known to be some of the most terrifying in the genre of supernatural horror, but Thomas Ligotti's first nonfiction book may be even scarier. Drawing on philosophy, literature, neuroscience, and other fields of study, Ligotti takes the penetrating lens of his imagination and turns it on his audience, causing them to grapple with the brutal reality that they are living a meaningless nightmare, and anyone who feels otherwise is simply acting out an optimistic fallacy. At once a guidebook to pessimistic thought and a relentless critique of humanity's employment of self-deception to cope with the pervasive suffering of their existence, The Conspiracy against the Human Race may just convince readers that there is more than a measure of truth in the despairing yet unexpectedly liberating negativity that is widely considered a hallmark of Ligotti's work.
Present day neuroscience places the brain at the centre of study. But what if researchers viewed the brain not as the foundation of life, rather as a mediating organ? Ecology of the Brain addresses this very question. It considers the human body as a collective, a living being which uses the brain to mediate interactions. Those interactions may be both within the human body and between the human body and its environment. Within this framework, the mind is seen not as a product of the brain but as an activity of the living being; an activity which integrates the brain within the everyday functions of the human body. Going further, Fuchs reformulates the traditional mind-brain problem, presenting it as a dual aspect of the living being: the lived body and the subjective body - the living body and the objective body. The processes of living and experiencing life, Fuchs argues, are in fact inextricably linked; it is not the brain, but the human being who feels, thinks and acts. For students and academics, Ecology of the Brain will be of interest to those studying or researching theory of mind, social and cultural interaction, psychiatry, and psychotherapy.
With the progress of artificial intelligence, the digitalization of the lifeworld, and the reduction of the mind to neuronal processes, the human being increasingly appears to be just a product of data and algorithms. That is, we conceive ourselves in the image of our machines, and conversely, we elevate our machines and our brains to new subjects. At the same time, demands for an enhancement of human nature culminate in transhumanist visions of taking human evolution to a new stage. Against this self-reification of the human being, this book defends a humanism of embodiment: our corporeality, vitality, embodied freedom are the foundations of a self-determined existence, which uses these new technologies only as a means, instead of letting them rule us. In Defence of the Human Being offers an array of interventions directed against a reductionist naturalism or transhumanism in various areas of science and society. As alternative it offers an embodied and enactive account of the human person: we are neither pure minds nor brains, but primarily embodied, living beings in relation with others. Fuchs applied this concept to issues such as artificial intelligence, transhumanism and enhancement, virtual reality, neuroscience, embodied freedom, psychiatry, and finally to the accelerating dynamics of current society which lead to an increasing disembodiment of our everyday conduct of life. Cutting across neuroscience, philosophy, and psychiatry, this important new book applies cutting-edge concepts of embodiment and enactivism to the current scientific, technological and cultural tendencies that will crucially influence our society's development in the 21st century.
The historical continuity of spinal catastrophism, traced across multiform encounters between philosophy, psychology, biology, and geology. Drawing on cryptic intimations in the work of J. G. Ballard, Georges Bataille, William Burroughs, André Leroi-Gourhan, Elaine Morgan, and Friedrich Nietzsche, in the late twentieth century Daniel Barker formulated the axioms of spinal catastrophism: If human morphology, upright posture, and the possibility of language are the ramified accidents of natural history, then psychic ailments are ultimately afflictions of the spine, which itself is a scale model of biogenetic trauma, a portable map of the catastrophic events that shaped that atrocity exhibition of evolutionary traumata, the sick orthograde talking mammal. Tracing its provenance through the biological notions of phylogeny and “organic memory” that fueled early psychoanalysis, back into idealism, nature philosophy, and romanticism, and across multiform encounters between philosophy, psychology, biology, and geology, Thomas Moynihan reveals the historical continuity of spinal catastrophism. From psychoanalysis and myth to geology and neuroanatomy, from bioanalysis to chronopathy, from spinal colonies of proto-minds to the retroparasitism of the CNS, from “railway spine” to Elizabeth Taylor's lost gill-slits, this extravagantly comprehensive philosophical adventure uses the spinal cord as a guiding thread to rediscover forgotten pathways in modern thought. Moynihan demonstrates that, far from being an fanciful notion rendered obsolete by advances in biology, spinal catastrophism dramatizes fundamental philosophical problematics of time, identity, continuity, and the transcendental that remain central to any attempt to reconcile human experience with natural history.
Based on recent theoretical developments in the enactive approach to life and mind, this book elaborates a series of contributions to a non-representational theory of action and perception. These enactive ideas are applied and extended to provide a theory rich, naturalistic account of the sensorimotor meaning and agency.
In this book, Barbara Ellison and Thomas B. W. Bailey lay out and explore the mystifying and evanescent musical territory of 'sonic phantoms': auditory illusions within the musical material that convey a 'phantasmatic' presence. Structured around a large body of compositional work developed by Ellison over the past decade, sonic phantoms are revealed and illustrated as they arise through a diverse array of musical sources, materials, techniques, and compositional tools: voices (real and synthetic), field recordings, instrument manipulation, object amplification, improvisation, and recording studio techniques. Somehow inherent in all music--and perhaps in all sound--sonic phantoms lurk and stalk with the promise of mystery and elevation. We just need to conjure them.
The book is a developed history of the radiological sciences – covering the back-story to Röntgen’s discovery, the discovery itself and immediate reception the early days of radiology leading to classical radiology (the pre-digital world). The 1970s as the ‘golden decade’ of radiology will be covered in detail, with the development of CT, MRI and modern interventional radiology. It will appeal to interested members of the public, to those working in the field, and to historians of medicine and science. Key Features: • Accessible and engaging, even for readers without any formal scientific training or education • Authored by an authority in the field • Contains previously unpublished materials from the author's extensive personal library and archive
This volume brings together two authors, one a psychiatrist, one a philosopher, to listen to one another’s reading of five stories of what it’s like to bear a different mental or physical illness. The beginning story, or anchor, for the conversation that unfolds between them is that of a person subject to recurring spells of catatonia, the uncanniest of human conditions. They discover that truly understanding what an illness is calls for understanding it within the context of who suffers it, that to understand illness is to establish the right relation between what is being suffered and who is suffering it. This deceptively simple way of talking, which is labelled who/what talk, will prove more practical and more clarifying than will terms like “mental” and “physical.” Furthermore, it has this additional dividend: it intrinsically resists a temptation toward medical prejudice—the inclination for doctors and other caregivers to lose the who of the sufferer through their focus on the what of her illness.
In this book, a professor of literature and a physicist offer a broad, new, interdisciplinary account of Modernism. Thomas Vargish and Delo E. Mook encompass physics, the visual arts and literature in a thought-provoking analysis of the period from the 1880s to World War II. Uncovering common structures and values underlying each of these disparate fields, the authors define Modernism and its historical location between nineteenth-century intellectual conventions that preceded it and the Postmodernism that followed. Bridging boundaries that traditionally divide disciplines, Vargish and Mook create a uniquely coherent and comprehensive view of the aesthetics and intellectual values that characterize the culture of Modernism.
How humanity came to contemplate its possible extinction. From forecasts of disastrous climate change to prophecies of evil AI superintelligences and the impending perils of genome editing, our species is increasingly concerned with the prospects of its own extinction. With humanity's future on this planet seeming more insecure by the day, in the twenty-first century, existential risk has become the object of a growing field of serious scientific inquiry. But, as Thomas Moynihan shows in X-Risk, this preoccupation is not exclusive to the post-atomic age of global warming and synthetic biology. Our growing concern with human extinction itself has a history. Tracing this untold story, Moynihan revisits the pioneers who first contemplated the possibility of human extinction and stages the historical drama of this momentous discovery. He shows how, far from being a secular reprise of religious prophecies of apocalypse, existential risk is a thoroughly modern idea, made possible by the burgeoning sciences and philosophical tumult of the Enlightenment era. In recollecting how we first came to care for our extinction, Moynihan reveals how today's attempts to measure and mitigate existential threats are the continuation of a project initiated over two centuries ago, which concerns the very vocation of the human as a rational, responsible, and future-oriented being.
In this illuminating book, art historian Thomas Puttfarken examines how pictorial composition and attitudes toward it changed between the early Renaissance and the beginning of the nineteenth century. Before 1600, a paintings overall composition was hardly ever discussed. As far as art theory and criticism were concerned, pictorial composition was a "discovery" of the seventeenth century, the author explains. In the first part of the book, Puttfarken investigates why pictorial composition did not figure in earlier accounts of the art. In Italy artists and patrons focused on large-scale wall paintings or altarpieces and on the presentation of life-size saints or protagonists whose physical proportions and interactions in narratives were considered more important than notions of overall effect or pictorial format. The second part of the book discusses the discovery of composition and Its consequences for both the theory and practice of painting, understood as the production of tableaux, or easel pictures. Puttfarken considers the effects on paintings of size, location, perspective, and relief, the relationship between ground and figures and between image and frame, and the different traditions defining Italian and Northern art. For readers with an interest in the theory and history of European art, this book is full of rich insights and fresh analyses.
What is kitsch? What is behind its appeal? More important, what is wrong with kitsch? Though central to our modern and postmodern culture, kitsch has not been seriously and comprehensively analyzed; its aesthetic worthlessness has been generally assumed but seldom explained. Kitsch and Art seeks to give this phenomenon its due by exploring the basis of artistic evaluation and aesthetic value judgments. Tomas Kulka examines kitsch in the visual arts, literature, music, and architecture. To distinguish kitsch from art, Kulka proposes that kitsch depicts instantly identifiable, emotionally charged objects or themes, but that it does not substantially enrich our associations relating to the depicted objects or themes. He then addresses the deceptive nature of kitsch by examining the makeup of its artistic and aesthetic worthlessness. Ultimately Kulka argues that the mass appeal of kitsch cannot be regarded as aesthetic appeal, but that its analysis can illuminate the nature of art appreciation.
For 26 years I had the best seat in the house - often in the center of the stage, frequently in the spotlight, always in the clear view of conductors and the audience and constantly amid the passions that come with making good music. This is the story of how I got that seat, of many of the highs and a few of the lows that come with sitting there and of some of the wonderful people who shared my journey. Here are the details behind the creation of William Kraft's Timpani Concerto Number One, the mystery of being honored with a titled chair, the fun of playing on the ISO's softball team and the benefits of studying timpani with Freddie, Eddie and Dan. Carnegie Hall became a special place, conductors from Richard Lert to Henry Mancini earned my respect, and I had an insider's view of the major leagues of orchestral music. Away from music, I led another life as a sportscaster, broadcasting games and interviewing many of America's finest athletes. A little of that slips into these pages, too. There was never a dull moment Behind The Copper Fence. keywords: Music, Percussion, Timpani, Memoir, Orchestra, Indianapolis Symphony Orchestra, Roanoke, CCM, Auditions, William Kraft
This groundbreaking, provocative book presents an overview of research at the disciplinary intersection of psychoanalysis and linguistics. Understanding that linguistic activity, to a great extent, takes place in unconscious cognition, Thomas Paul Bonfiglio systematically demonstrates how fundamental psychoanalytic mechanisms—such as displacement, condensation, overdetermination, and repetition—have been absent in the history of linguistic inquiry, and explains how these mechanisms can illuminate the understanding of the grammatical structure, evolution, acquisition, and processing of language. Reexamining popular misunderstandings of psychoanalysis along the way, Bonfiglio further proposes a new theoretical configuration of language and expertly sets the future agenda on this subject with new conceptual paradigms for research and teaching. This will be an invaluable, fascinating resource for advanced students and scholars of theoretical and applied linguistics, the cognitive-behavioral sciences, metaphor studies, humor studies and play theory, anthropology, and beyond.
Fundamentals of Cognitive Science draws on research from psychology, philosophy, artificial intelligence, linguistics, evolution, and neuroscience to provide an engaging and student-friendly introduction to this interdisciplinary field. While structured around traditional cognitive psychology topics, from attention, learning theory, and memory to information processing, thinking, and decision making, the book also looks at neural networks, cognitive neuroscience, embodied cognition, and magic to illustrate cognitive science principles. The book is organized around the history of thinking about the mind and its relation to the world. It considers the evolution of cognition and how it demonstrates how our current thinking about cognitive processes is derived from pre-scientific philosophies and common sense, through psychologists’ empirical inquiries into mind and behavior as they pursued a science of cognition and the construction of artificial intelligences. The architectures of cognition are also applied throughout, and the book proposes a synthesis of them, from traditional symbol system architectures to recent work in embodied cognition and Bayesian predictive processing. Practical and policy implications are also considered but solutions are left for the readers to determine. Using extended case studies to address the most important themes, ideas, and findings, this book is suitable for upper-level undergraduate and graduate courses in psychology and related fields. It is also suitable for general readers interested in an accessible treatment of cognitive science and its practical implications. Please visit www.fundamentalsofcognitivescience.com for further resources to accompany the book.
Philosophers have long debated whether morality is objective. But how do lay people think about this matter? A Philosophical Perspective on Folk Moral Objectivism discusses the philosophical aspects of this question in an accessible, integrated and coherent way. The first part argues that many empirical studies have been unsuccessful in fully or exclusively measuring beliefs about moral objectivity. Still, there are a few lessons that can be drawn from them. Most importantly, lay people are not objectivists. They believe that moral statements only express desires or that their truth is relative to individuals or cultures. The book’s second part considers ways in which these empirical findings may help assess philosophical theories about moral objectivity. Overall, findings about people’s moral objectivity beliefs suggest that morality is not objective. The truth of the matter may even lie beyond the traditional objectivism/non-objectivism dichotomy. This book develops a unique perspective on a thriving new area of research. It is a valuable resource for upper level undergraduates, postgraduates and researchers in moral psychology, theoretical psychology, experimental philosophy, metaethics and philosophy of the mind.
Nazi Germany is remembered as a nation of willing fanatics, but countless Germans actively resisted Hitler. No matter how small the act, the danger was the same: any display of defiance was met with arrest, interrogation, torture, and even death. Thomas and Lewis follow the underground network of Germans who believed standing against the Fuhrer to be more important than their own survival. Their bravery is astonishing, and the authors illuminate their struggles, yielding an accessible narrative history with the pace and excitement of a thriller. -- adapted from jacket.
Are there objective moral truths (things that are morally right or wrong independently of what anybody thinks about them)? To answer this question more and more scholars have recently begun to appeal to evidence from scientific disciplines such as psychology, neuroscience, biology, and anthropology. This book investigates this novel scientific approach in a comprehensive, empirically focused, partly clarificatory, and partly metatheoretical way. It argues for two main theses. First, it is possible for the empirical sciences to contribute to the moral realism/anti-realism debate. And second, most appeals to science that have so far been proposed are insufficiently empirically substantiated. The book’s main chapters address four prominent science-based arguments for or against the existence of objective moral truths: the presumptive argument, the argument from moral disagreement, the sentimentalist argument, and the evolutionary debunking argument. For each of these arguments Thomas Pölzler first identifies the sense in which its underlying empirical hypothesis would have to be true in order for the argument to work. Then he shows that the available scientific evidence fails to support this hypothesis. Finally, he also makes suggestions as to how to test the hypothesis more validly in future scientific research. Moral Reality and the Empirical Sciences is an important contribution to the moral realism/anti-realism debate that will appeal both to philosophers and scientists interested in moral psychology and metaethics.
Turn-of-the-century Paris was the beating heart of a rapidly changing world. Painters, scientists, revolutionaries, poets -- all were there. But so, too, were the shadows: Paris was a violent, criminal place, its sinister alleyways the haunts of Apache gangsters and its cafes the gathering places of murderous anarchists. In 1911, it fell victim to perhaps the greatest theft of all time -- the taking of the Mona Lisa from the Louvre. Immediately, Alphonse Bertillon, a detective world-renowned for pioneering crime-scene investigation techniques, was called upon to solve the crime. And quickly the Paris police had a suspect: a young Spanish artist named Pablo Picasso....
“Girst elegantly unravels the skeins of Duchamp’s thinking. . . . An essential compendium for puzzling out an essential artist.” —Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation Among the most influential artists of the last hundred years, Marcel Duchamp holds great allure for many contemporary artists worldwide and is largely considered to be one of the founding fathers of modern art. Despite this popularity, books on Duchamp are often hyper-theoretical, rarely presenting the artist in an accessible way. This new book explores the artist’s life and work through short, alphabetical dictionary entries that introduce his legacy in a clear and engaging way. From alchemy and anatomy to Warhol and windows, The Duchamp Dictionary offers a pithy and readable text that draws on in-depth scholarship and the very latest research. Thomas Girst includes close to 200 entries on the most interesting and important artworks, relationships, people, and ideas in Duchamp’s life—from The Bicycle Wheel and Fountain to Walter and Louise Arensberg, Peggy Guggenheim, Katherine Dreier, and Arturo Schwarz. Delightful, newly commissioned illustrations introduce each letter of the alphabet and accompany select entries, capturing the irreverent spirit of the artist himself.
Only a wayfarer born under unruly stars would attempt to put into practice in our epoch of proliferating knowledge the Heraclitean dictum that `men who love wisdom must be inquirers into very many things indeed.'" Thus begins this remarkable interdisciplinary study of time by a master of the subject. And while developing a theory of "time as conflict," J. T. Fraser does offer "many things indeed"--an enormous range of ideas about matter, life, death, evolution, and value.
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