Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

A study of how contemporary cinema and film-philosophers explore radical skepticism about our knowledge of the world.

Explores the figure of the detective as a pursuer of knowledge in four noir films.

Reading philosophy through the lens of Alfred Hitchcock's Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. In doing so, Cavalletti brings out the vertiginous nature of identity.

In this book Yoram Lubling and Eric Evans offer a Deweyan reconstruction of our philosophical understanding of well-being. They begin with Dewey's critique of the philosophical fallacy to examine the legitimacy and value of theories of well-being offered by traditional philosophy. However, such theories fail to provide an authentic account of well-being due to a false understanding of "experience" as either epistemic or cognitive. Next, using Dewey's theory of experience, they reconstruct happiness as the target for evaluation of well-being. (...) This leads them to reject the traditional view of a private encapsulated self, and to offer in its place a "transactionally situated self" which is an embodied, enculturated agent. Through their emphasis on the importance of the qualitative aspects of Dewey's understanding of a situation, the "pervasive quality of the situation" emerges as the most plausible criterion for the evaluation of well-being. The authors use Dewey's theories of inquiry, ethics, value and art to establish the naturalistic conditions under which such "pervasive quality" enters into a situation as either settled or unsettled, in other words, as peace in motion. Consequently, a "problematic situation" becomes the primary condition under which all inquiry initiates whether it is in the context of science, ethics, values, art or ordinary living. Lubling and Evans conclude that a Deweyan account of well-being involves "embodied knowing" instead of the traditional view of cognitive knowledge. By using such an account, it is possible to explain the conditions and mechanisms under which well-being contributes to the enlargement and enrichment of individual and collective human experience. (shrink)

First published in 1984 as part of The Collected Papers of Bertrand Russell , Theory of Knowledge represents an important addition to our knowledge of Russell's thought. In this work Russell attempts to flesh out the sketch implicit in The Problems of Philosophy . It was conceived by Russell as his next major project after Principia Mathematica and was intended to provide the epistemological foundations for his work. Russell's subsequent difficulties in presenting his theory of knowledge, brought on (...) by what he considered to be devastating criticisms of Wittgenstein, led to both his abandonment of this work and to a major transformation in his thought. Theory of Knowledge , now available for the first time in paperback, gives us a picture of one of the great minds of the twentieth century at work. It is possible to see the unsolved problems left without disguise or evasion. This second edition has retained the full scholarly introduction. The photographs of the manuscript, appendices, and notes on textual matters have been eliminated to provide a concise and accessible guide to understanding both Russell's own thought and his relationship with Wittgenstein. (shrink)

In recent years there has been a renewal of interest in Meinong's work; but since the bulk of it is still encased in his quite forbidding German, most students are limited to the few available translations and to secondary sources. Unfortunately Meinong has been much maligned - only in a few instances with good reason - and has consequently been dealt with lightly. Meinong stood at a very important junction of European philosophical and scien tific thought. In all fields - (...) physics, chemistry, mathematics, psychology, philolo- revolutionary strides were being made. Philosophy, on the other hand, had run its post-Kantian course. New philosophical thinkers came from different disciplines. For example, Frege and later Russell were mathematicians, Boltzmann and Mach were physicists. Earlier Bolzano and then Brentano were originally theologians, and Meinong was a historian. 1 The sciences with their new insights and theories offered an enormous wealth of information which needed to be absorbed philosophically; but traditional philosophy could not deal with it. Physics presented a picture of reality which did not fit into the traditional schemes of empiricism or idealism. Ontological and epistemological questions became once again wide open issues. For example, atoms at first were still considered to be theoretical entities. (shrink)

Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...) serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance. (shrink)

Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...) variability within a language can be explained by specific properties of the events. This event-properties account predicts that descriptions of one and the same event should be consistent within a language, even in languages where there is overall variability in the use of syntactic frames. Spanish and Swedish speakers (N= 84) described 32 caused motion events. While the most frequent syntactic framing in each language was as expected based on typology (Spanish: verb-framed, Swedish: satellite-framed, cf. Talmy,2000), Swedish descriptions were substantially more consistent than Spanish descriptions. Swedish speakers almost invariably encoded all events with a single syntactic frame and systematically conveyed manner of motion. Spanish descriptions, in contrast, varied much more regarding syntactic framing and expression of manner. Crucially, variability in Spanish descriptions was not mainly a function of differences between events, as predicted by the event-properties account. Rather, Spanish variability in syntactic framing was driven by speaker biases. A similar picture arose for whether Spanish descriptions expressed manner information or not: Even after accounting for the effect of syntactic choice, a large portion of the variance in Spanish manner encoding remained attributable to differences among speakers. The results show that consistency in motion event encoding starkly differs across languages: Some languages (like Swedish) bias their speakers toward a particular linguistic event schema much more than others (like Spanish). Implications of these findings are discussed with respect to the typology of event framing, theories on the relationship between language and thought, and speech planning. In addition, the tools employed here to quantify variability can be applied to other domains of language. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This book utilizes philosophical tools to build up a framework for the classification, analysis, and assessment of political cinema. The author first maps the category of political cinema, clarifying what it means for a film to be 'political', and then analyzes the relation between the value of a film as a political film and its value as art. Through philosophical enquiry, Angelo Cioffi builds up a framework that could be of use in art-critical practice and that can help with the (...) classification and assessment of political films. Grounded in analytic philosophy of art and cognitivist film theory, with insights from political science, political philosophy, epistemology, and cognitive science, the book presents a unique analysis of the relation between films and the 'political'. This theory is tested with detailed case studies, and the author uses specific films as examples of the applicability and explanatory power of this theoretical framework. As such, this book will be of interest not just to film studies, film theory and political philosophy scholars, but to anyone with an interest in political film, aesthetic practice, and philosophy of art. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

Sont ici rassemblés dix-sept textes qui reflètent un travail délibérément orienté sur plusieurs champs du savoir. Celui de la philosophie, ses œuvres et ses auteurs, antiques et modernes, comme Augustin, Leibniz, Spinoza, Kant ou Derrida. Celui de la littérature, et sa critique, comme Blanchot, Duras ou Deguy. Celui du religieux, comme l'exorcisme avec le Malleus maleficarum, la cruentation avec Ranchin, le miracle avec Augustin, ou la Bible et langue hébraïque avec Spinoza. Enfin celui du cinéma, avec les voix fantômes de (...) Duras, les spectres de Farocki, la question des genres d'Akerman, les utopies de Kluge, et la fin du monde de Bela Tarr. Tous ces textes sont philosophiques, dans leur effort de pensée, dans le but de faire l'expérience d'une écriture de la pensée, d'une invention d'un langage de la pensée ou du regard. Ils cherchent à penser le travail de la lettre, dans un livre, une croyance religieuse, un événement surnaturel, une pratique déviante, une voix narrative, la description d'un personnage, un plan-séquence, etc. Chacun d'eux se concentre sur un détail qui aurait pu passer inaperçu. En somme, ces textes proposent des argumentations précises, analysent des récrits et décryptent des séquences, dans le désir d'en poursuivre l'écriture par le seul jeu de la pensée."--Page 4 of cover. (shrink)

This paper is an attempt to present a Kripkean (Causal) picture of Reference where the cognitive content in fixing reference plays a vital role. It also points out that Kripke is not a pure causal theorist. By introducing Thomas Kuhn and his theory on vulnerability of the rigid designation, I have shown that there is a danger for causal theory of reference. However Kuhn’s argument fails to have an impact if a Knowledge aspect is augmented to Kripkean (...) class='Hi'>theory of reference. This new causal theory of reference preserves the truth of the referential term in spite of the vulnerability of the rigid designation and problem of reference change. It can also adequately answer the question of theoretical terms reference failure. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

I shall start by considering the apparently paradoxical doctrines that Wittgenstein put forward about knowledge: they show how the concept of knowledge is, as he says, specialized. This is not, as I shall show, a very important issue in itself, but it leads on to other points, of more interest: how it comes about, for example, that not all corrections of our beliefs are on the same level. I shall then discuss the idea that we inherit a certain picture of (...) the world that forms the background of our experiments and researches. This idea, which is not of course unique to Wittgenstein, is, however, developed with many fresh insights. I end with some discussion of Wittgenstein's reported views on religious belief, which should not, in my opinion, be regarded as part of his contribution to philosophy, the interest of them being, perhaps, more biographical than philosophical. (shrink)

The concept of "practices"--whether of representation, of political or scientific traditions, or of organizational culture--is central to social theory. In this book, Stephen Turner presents the first analysis and critique of the idea of practice as it has developed in the various theoretical traditions of the social sciences and the humanities. Understood broadly as a tacit understanding "shared" by a group, the concept of a practice has a fatal difficulty, Turner argues: there is no plausible mechanism by which a (...) "practice" is transmitted or reproduced. The historical uses of the concept, from Durkheim to Kripke's version of Wittgenstein, provide examples of the contortions that thinkers have been forced into by this problem, and show the ultimate implausibility of the idea. Turner's conclusion sketches a picture of what happens when we do without the notion of a shared practice, and how this bears on social theory and philosophy. It explains why social theory cannot get beyond the stage of constructing fuzzy analogies, and why the standard constructions of the contemporary philosophical problem of relativism depend upon this defective notion. This first book-length critique of practice theory is sure to stir discussion and controversy in a wide range of fields, from philosophy and science studies to sociology, anthropology, literary studies, and political and legal theory. (shrink)

Hartmut Rosa advances an account of the temporal structure of society from the perspective of critical theory. He identifies three categories of change in the tempo of modern social life: technological acceleration, evident in transportation, communication, and production; the acceleration of social change, reflected in cultural knowledge, social institutions, and personal relationships; and acceleration in the pace of life, which happens despite the expectation that technological change should increase an individual's free time. According to Rosa, both the structural and (...) cultural aspects of our institutions and practices are marked by the "shrinking of the present," a decreasing time period during which expectations based on past experience reliably match the future. When this phenomenon combines with technological acceleration and the increasing pace of life, time seems to flow ever faster, making our relationships to each other and the world fluid and problematic. It is as if we are standing on "slipping slopes," a steep social terrain that is itself in motion and in turn demands faster lives and technology. As Rosa deftly shows, this self-reinforcing feedback loop fundamentally determines the character of modern life. (shrink)

_ Source: _Volume 30, Issue 1, pp 4 - 27 The _Animadversiones in Elementorum Philosophiae_ by a little known Flemish scholar G. Moranus, published in Brussels in 1655 was an early European response to Hobbes’s _De Corpore_. Although it is has been referred to by various Hobbes scholars, such as Noel Malcolm, Doug Jesseph, and Alexander Bird it has been little studied. Previous scholarship has tended to focus on the mathematical criticisms of André Tacquet which Moranus included in the form (...) of a letter in his volume. Moranus’s philosophical objections to Hobbes’s natural philosophy offer a fascinating picture of the critical reception of Hobbes’s work by a religious writer trained in the late Scholastic tradition. Moranus’s opening criticism clearly shows that he is unhappy with Hobbes’s exclusion of the divine and the immaterial from natural philosophy. He asks what authority Hobbes has for breaking with the common understanding of philosophy, as defined by Cicero ‘the knowledge of things human and divine’. He also offers natural philosophical and theological criticisms of Hobbes for overlooking the generation of things involved in the Creation. He also attacks the natural philosophical underpinning of Hobbes’s civil philosophy. In this paper I look at a number of philosophical topics which Moranus criticised in Hobbes’s work, including his mechanical psychology, his theory of imaginary space, his use of the concept of accidents, his blurring of the distinction between the human being and the animal, and his theories of motion. Moranus’s criticisms, which are a mixture of philosophical and theological objections, gives us some clear indications of what made Hobbes’ natural philosophy controversial amongst his contemporaries, and sheds new light on the early continental reception of Hobbes’s work. (shrink)

The study of film entered a new era after World War II, as cinema became an acceptable focus for intellectual inquiry. The many ways in which cinema has been imagined, studied, and discussed in the last fifty years are the subject of this comprehensive overview of film theory in the United States and Europe since 1945. Francesco Casetti groups his essays around principal movements in film studies. In the first part of the book, he reviews the attempts at defining (...) the "essence" of cinema during the 1950s. Then he explores disciplinary approaches to cinema--psychological, sociological, semiotic, and psychoanalytic--popular in the 1960s and 1970s. Finally, he focuses on "field" theories--cinema and politics, the critique of representation, feminist film theory, neo-disciplinary tendencies, cultural and aesthetic studies, and the new approaches to film history. Theories of Cinema was originally published in Italy, where it won the Premio Domenico Meccoli--Scrivere di cinema 1993 of the Centro dello Spettacolo in Rome. This is its first English translation. The author has revised and updated this edition to cover the years 1945-1995. (shrink)

In books such as The World Within the World and The Anthropic Cosmological Principle, astronomer John Barrow has emerged as a leading writer on our efforts to understand the universe. Timothy Ferris, writing in The Times Literary Supplement of London, described him as "a temperate and accomplished humanist, scientist, and philosopher of science--a man out to make a contribution, not a show." Now Barrow offers the general reader another fascinating look at modern physics, as he explores the quest for a (...) single, unifying theory that will unlock nature's secrets. Theories of Everything is more than a history of science, more than a popular report on recent research and discoveries. Barrow provides a reflective, intelligent commentary on what a true Theory of Everything would be--its ingredients, its limitations, and what it could tell us about the universe. Never before, he writes, have physicists been so confident and so eager in the hunt for this "cosmic Rosetta Stone," as he calls it: "a single all-embracing picture of all the laws of nature from which the inevitability of all things seen must follow with unimpeachable logic." He lays out eight essential ingredients for a Theory of Everything and then explores each in turn, tracing how our knowledge has developed and how scientific discovery relates to our changing philosophy and religious thought in each area. Some of these ingredients are obvious--the laws of nature must be explained, for example, as well as its organizing principles--but others may be surprising, such as broken symmetries and selection biases. A Theory of Everything must account for the fact that the universe is "messy and complicated," he tells us, and for the limitations imposed by the questions we ask and the information we can obtain. The key lies in the remarkable capacity of mathematics to express the fundamental workings of the physical world--a language that the human mind is uniquely equipped to understand and manipulate. Barrow examines what mathematics actually is and describes how it makes the universe intelligible and provides a path to the underlying coherence in nature--which has led, in fact, to arguments that the universe itself is a vast computer. Yet even the most complete theory, even the most comprehensive mathematical explanation, cannot account for the uncomputable varieties of human experience and thought. "No non-poetic account of reality," he writes, "can be complete." In a field where the authorities converse in equations and mathematical notations, John Barrow speaks with the voice of thoughtful and knowledgeable humanist. Written with eloquence and expertise, Theories of Everything establishes a new perspective on humanity's efforts to explain the universe. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

This classic in film theory, presents a systematic study of the techniques of the film medium and of their potential uses for creating formal structures in individual films such as Dovzhenko's Earth, Antonioni's La Notte, Bresson's Au Hasard Balthazar, Renoir's Nana, and Godard's Pierrot le Fou. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts (...) of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Drawing on a wide range of films from around the world, and the ideas of a diverse selection of thinkers from Plato and Descartes to Marcuse and Foucault, _Philosophy Goes to the Movies_ introduces and discusses central areas of philosophical concern, including: *the theory of knowledge *the self and personal identity *ethics *social and political philosophy *critical thinking Ideal for beginners, this book guides the reader through philosophy using lively and illuminating cinematic examples including _A Clockwork Orange_, _Mulholland Drive_, (...) _Blade Runner_, _Modern Times_, _Wings of Desire_ and _The Lord of the Rings_. This fully revised and updated second edition features an expanded introduction providing guidance on teaching and discussing philosophy through film, as well as new material on notable philosophers such as Rousseau, Aquinas and Nietzche, and discussion of a wide range of recent films. (shrink)

The causal representative theory of perception dominated theory of knowledge for hundreds of years after it was put on the map by Descartes and Locke. It is now almost extinct. How could this happen? The theory collapsed because it could not explain how we acquire knowledge of the external world, since it presupposes a causally organized system of external objects producing sensations in us. This presupposition, however, is generally recognized as true, so that the pattern of causal (...) inference at the heart of the theory is surely justified. The theory cannot explain how we originally acquire our knowledge of the external world, but it is entitled on a second pass to correct our empirical beliefs, where necessary. This includes replacing our naive picture of the physical world with a more sophisticated scientific conception, which downgrades secondary qualities. This was, indeed, the main reason why it was originally introduced by Descartes and Locke, and has been the source of its attraction over the years. (shrink)

The Metaphysics of Knowledge presents the thesis that knowledge is an absolutely fundamental relation, with an indispensable role to play in metaphysics, philosophical logic, and philosophy of mind and language. Knowledge has been generally assumed to be a propositional attitude like belief. But Keith Hossack argues that knowledge is not a relation to a content; rather, it a relation to a fact. This point of view allows us to explain many of the concepts of philosophical logic in terms of knowledge. (...) Hossack provides a theory of facts as structured combinations of particulars and universals, and presents a theory of content as the property of a mental act that determines its value for getting knowledge. He also defends a theory of representation in which the conceptual structure of a content is taken to picture the fact it represents. This permits definitions to be given of reference, truth, and necessity in terms of knowledge. Turning to the metaphysics of mind and language, Hossack argues that a conscious state is one that is identical with knowledge of its own occurrence. This allows us to characterize subjectivity, and, by illuminating the "I"-concept, allows us to gain a better understanding of the concept of a person. Language is then explained in terms of knowledge, as a device used by a community of persons for exchanging knowledge by testimony. The Metaphysics of Knowledge concludes that knowledge is too fundamental to be constituted by something else, such as one's functional or physical state; other things may cause knowledge, but do not constitute it. (shrink)

Most of this work is concerned with two theories that underlie cognitive science; theories which I call "the representational theory of intentionality" and "the computational theory of cognition" . While the representational theory of intentionality asserts that mental states are about the world in virtue of a representation relation between the world and the state, the computational theory of cognition asserts that humans and others perform cognitive tasks by computing functions on these representations. CTC draws upon (...) a rich analogy between the mind and digital computers, portraying cognizers as receiving input and generating outputs . ;Since researchers within cognitive science--especially within cognitive psychology, computer science, and philosophy of mind--share a common theoretic background in their adherence to the combination of RTI and CTC, what I call "computationalism" most of the work done in philosophy of mind has been aimed at either refuting or further articulating these two theories. This work is strongly within that tradition. ;RTI and CTC combine to create an explanatory framework for explanation in cognitive science. In this work, I seek to delineate the exact structure of this framework, to determine its components and their overall relationships. In my mind, this involves making implicit aspects of computational explanation explicit, providing an overall rationale for the various components and their relationships, and defending that rationale against criticism. ;In particular, the project of this work is to argue that computationalist explanations of cognition within cognitive science need to make appeals to both representation and knowledge; to distinguish the respective roles of knowledge and of representation in an overall picture of computational explanations, and to develop and argue for definitions of representation and knowledge that would allow those concepts to play their respective roles within computational explanations in cognitive science. ;The first half of this work , therefore, is devoted to theories of representation, especially to the need for, and role of representation in computational explanations. The first half of the work culminates in chapter three with a definition of representation and a picture of the structure of computational explanations. The second half of the project then becomes to generate a definition of knowledge that defines knowledge in non-epistemic language amenable to computationalism and that carries the epistemic burdens placed upon knowledge by its use in computational explanations, as well as to offer a limited defence of that definition within the framework of traditional epistemology. (shrink)

A theory of information is developed in which the informational content of a signal (structure, event) can be specified. This content is expressed by a sentence describing the condition at a source on which the properties of a signal depend in some lawful way. Information, as so defined, though perfectly objective, has the kind of semantic property (intentionality) that seems to be needed for an analysis of cognition. Perceptual knowledge is an information-dependent internal state with a content corresponding to (...) the information producing it. This picture of knowledge captures most of what makes knowledge an important cpistcmological notion. It also avoids many of the problems infecting traditional justificational accounts of knowledge (knowledge as [justified, true belief those (unlike knowledge) having a content that can be either true or false (e.g., belief) – are described in terms of the way internal (presumably neural) structures acquire during learning a certain information-carrying role. The content of these structures (whether true or false) is identified with the kind of information they were developed to carry. (shrink)

Numerous studies suggest that both emotion knowledge and language abilities are powerfully related to young children’s theory of mind. Nonetheless, the magnitude and direction of the associations between language, emotion knowledge, and theory-of-mind performance in the first years of life are still debated. Hence, the aim of this study was to assess the direct effects of emotion knowledge and language on theory-of-mind scores in 2- and 3-year-old children. A sample of 139 children, aged between 24 and 47 (...) months ( M = 35.5 months; SD = 6.73), were directly administered measures of emotion knowledge, theory of mind, and language. We conducted structural equation modeling (SEM) to evaluate the effects of these variables within a single comprehensive framework, while also controlling for any effects of age and gender. The proposed structural equation model provided an excellent fit for the data, indicating that both children’s emotion knowledge, and their language ability had direct positive effects on theory of mind scores. In addition, age was found to wield statistically significant effects on all the variables under study, whereas gender was not significantly associated with any of them. These findings suggest the importance of fostering young children’s emotion knowledge and language ability with a view to enhancing their comprehension of mental states. (shrink)

John Hyman has used the objective character of occlusion shapes and of relative occlusion sizes to develop a more objective approach both in the analysis of linear perspective and in the theory of depiction. To this end Hyman develops two Occlusion Principles, plus an Aperture Colour Principle (which I do not discuss), which, together with our knowledge of appearances, are supposed to tell us what a picture depicts. I argue that Hyman underestimates the crucial role of the psychological element (...) in the work that the objective occlusion shape and relative occlusion sizes are assigned to do. Two pictures may have different contents in spite of the same occlusion shapes and the same (relative) occlusion sizes. It is the operation of constancy scaling in pictorial space which frustrates Hyman’s objectivism both in the domain of linear perspective and in the domain of depiction. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Action is a means of acquiring perceptual information about the environment. Turning around, for example, alters your spatial relations to surrounding objects and, hence, which of their properties you visually perceive. Moving your hand over an object’s surface enables you to feel its shape, temperature, and texture. Sniffing and walking around a room enables you to track down the source of an unpleasant smell. Active or passive movements of the body can also generate useful sources of perceptual information (Gibson 1966, (...) 1979). The pattern of optic flow in the retinal image produced by forward locomotion, for example, contains information about the direction in which you are heading, while motion parallax is a “cue” used by the visual system to estimate the relative distances of objects in your field of view. In these uncontroversial ways and others, perception is instrumentally dependent on action. According to an explanatory framework that Susan Hurley (1998) dubs the “Input-Output Picture”, the dependence of perception on action is purely instrumental: "Movement can alter sensory inputs and so result in different perceptions… changes in output are merely a means to changes in input, on which perception depends directly" (1998: 342). -/- The action-based theories of perception, reviewed in this entry, challenge the Input-Output Picture. They maintain that perception can also depend in a noninstrumental or constitutive way on action (or, more generally, on capacities for object-directed motor control). This position has taken many different forms in the history of philosophy and psychology. Most action-based theories of perception in the last 300 years, however, have looked to action in order to explain how vision, in particular, acquires either all or some of its spatial representational content. Accordingly, these are the theories on which we shall focus here. -/- We begin in Section 1 by discussing George Berkeley’s Towards a New Theory of Vision (1709), the historical locus classicus of action-based theories of perception, and one of the most influential texts on vision ever written. Berkeley argues that the basic or “proper” deliverance of vision is not an arrangement of voluminous objects in three-dimensional space, but rather a two-dimensional manifold of light and color. We then turn to a discussion of Lotze, Helmholtz, and the local sign doctrine. The “local signs” were felt cues for the mind to know what sort of spatial content to imbue visual experience with. For Lotze, these cues were “inflowing” kinaesthetic feelings that result from actually moving the eyes, while, for Helmholtz, they were “outflowing” motor commands sent to move the eyes. -/- In Section 2, we discuss sensorimotor contingency theories, which became prominent in the 20thcentury. These views maintain that an ability to predict the sensory consequences of self-initiated actions is necessary for perception. Among the motivations for this family of theories is the problem of visual direction constancy—why do objects appear to be stationary even though the locations on the retina to which they reflect light change with every eye movement?—as well as experiments on adaptation to optical rearrangement devices (ORDs) and sensory substitution. -/- Section 3 examines two other important 20th century theories. According to what we shall call the motor component theory, efference copies generated in the oculomotor system and/or proprioceptive feedback from eye-movements are used together with incoming sensory inputs to determine the spatial attributes of perceived objects. Efferent readiness theories, by contrast, look to the particular ways in which perceptual states prepare the observer to move and act in relation to the environment. The modest readiness theory, as we shall call it, claims that the way an object’s spatial attributes are represented in visual experience can be modulated by one or another form of covert action planning. The bold readiness theory argues for the stronger claim that perception just is covert readiness for action. -/- In Section 4, we move to the disposition theory, most influentially articulated by Gareth Evans (1982, 1985), but more recently defended by Rick Grush (2000, 2007). Evans’ theory is, at its core, very similar to the bold efferent readiness theory. There are some notable differences, though. Evans’ account is more finely articulated in some philosophical respects. It also does not posit a reduction of perception to behavioral dispositions, but rather posits that certain complicated relations between perceptual input and behavioral provide spatial content. Grush proposes a very specific theory that is like Evans’ in that it does not posit a reduction, but unlike Evans’ view, does not put behavioral dispositions and sensory input on an undifferentiated footing. (shrink)

This book is an attempt to understand a significant part of the complex thought of Charles Sanders Peirce, especially in those areas which interested him most: scientific method and related philosophical questions. It is organized primarily from Peirce's own writings, taking chronological settings into account where appropriate, and pointing out the close connections of several major themes in Peirce's work which show the rich diversity of his thought and its systematic unity. Following an introductory sketch of Peirce the thinking and (...) writer is a study of the spirit and phases of scientific inquiry, and a consideration of its relevance to certain outstanding philosophical views which Peirce held. This double approach is necessary because his views on scientific method are interlaces with a profound and elaborate philosophy of the cosmos. Peirce's thought is unusually close-knit, and his difficulty as a writer lies in his inability to achieve a partial focus without bringing into view numerous connections and relations with the whole picture of reality. Peirce received some of the esteem he deserves when the publication of his Collected Papers began more than thirty-five years ago. Some reviewers and critics, however, have attempted to fit Peirce into their own molds in justification of a particular position; others have disinterestedly sought to present him in completely detached fashion. Here, the author has attempted to understand Peirce as Peirce intended himself to be understood, and has presented what he believes Perice's philosophy of scientific method to be. He singles out for praise Peirce's Greek insistence on the primacy of theoretical knowledge and his almost Teilhardian synthesis of evolutionary themes. Primarily philosophical, this volume analyzes Peirce's thought using a theory of knowledge and metaphysics rather than formal logic. (shrink)

Over 20 years ago the Programme Director of Greenpeace UK identified the primary challenge facing the modern environmental movement as that of moving beyond the “struggle for proof” to generating effective environmental action. There is a mass of widely-accepted evidence to support environmentalist claims, but effective environmental action is rare, both at governmental and at grass-roots levels. Arguably, the malaise is less a political one than an ontological one. We “know” that environmental problems are “real”, but we fail to grasp (...) them as happening here, to us. It is as if they unfolded in a “media-only reality” (Rose, 1993). This ontological malaise can be understood along Heideggerian lines as a form of world-alienation. Alienation is often understood, following Marx, as estrangement from our true human nature, consequent on interpreting ourselves as mere resources. On Heidegger’s view, however, self and world are inextricably linked. Conscious beings are not trapped inside their own heads, never to bridge the gap to the world outside. Rather, consciousness just is the intentional reaching out to things. Heidegger’s view of the self-world relation implies a modified concept of alienation. Our alienated condition stems as much from interpreting the world around us as a mere resource as it does from interpreting ourselves as mere resources. We may understand the natural systems on which our lives depend in far more detail than our grandparents did; but where those systems are understood as brute agglomerations of objects the resulting knowledge is alienated and alienating. Our very “theory of the real” serves to make the earth unreal for us. This, I argue, is the true import of Heidegger’s concern with the world “conceived and grasped as picture”. It also illuminates his remark in the 1966 Der Spiegel interview: “It is no longer upon an Earth that man lives today.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Discussions ARISTOTLE'S "DE MOTU ANIMALIUM" AND THE SEPARABILITY OF THE SCIENCES In contrast to Plato's vision of a unified science of reality and with a profound effect on subsequent natural science and philosophy, Aristotle urges in the Posterior Analytics and elsewhere that scientific knowledge is to be pursued in limited, separable domains, each with its own true and necessary first principles for the explanation of a discrete (...) range of phenomena, that is, accepted observations and beliefs, from which its investigations are launched (An. Pr. 46al7ff.; An. Post. 74b25, 76a26-3 o, 84b14-18, 88a31; Cael. 3o6a6ff.; Gen. An. 748a7ff.). In an early introduction to a course of lectures on the natural sciences, Aristotle also indicates the order in which those sciences ought to be presented (Mete. 338a2o-~9, 339a5-9; cf. Cael. 268al6, Part. An. 644b~2ff.). The plan is to start with a general discussion of change and motion, then progress to studies of specific natural phenomena, ending with the many species of plants and animals. In the theory of demonstration in Posterior Analytics 1, which is concerned with the organization, justification, and teaching of a finished science, Aristotle maintains that terms cannot ordinarily cross genera; for example, geometry cannot provide demonstrations of truths of arithmetic or aesthetics. Demonstration of a theorem of some one science by means of another can be accomplished when and only when the sciences are related as "subordinate " to "superior" (75b14-17), for example, as harmonics to arithmetic or optics to geometry. A superior science may supply the "reason" for a "fact" known to obtain in the subordinate science (78b34-79a6). Evidently at least part of what he has in mind is the relation between pure and applied sciences.' Aristotle's practice as well as a number of methodological remarks ' See ThomasAquinas,In Post. An. 50.1,15.131, 50.1.25,as wellasJ. Barnes'snoteson An. Post. 78b34,in Aristotle'sPosteriorAnalytics (Oxford:OxfordUniversityPress,1975).For relevant background see Ian Mueller,"Ascendingto Problems:Astronomyand Harmonicsin Republic VII," inJohn Anton,ed., Scienceand the Sciencesin Plato (Albany:StateUniversityof NewYork Press, 1979). [65] 66 HISTORY OF PHILOSOPHY suggest also that the strictures of the Posterior Analytics are not intended to prohibit the heuristic use of material from other disciplines in research (see e.g., Top. 1.14; Part An. 639b17ff., 641a6-14, 642alo-14, 645b15-2o; Ph. 192b8-34, 199a8-21, 199a33-b5). The requirements for science laid down here are very strict, and it is sometimes maintained that Aristotle violates them himself to some degree in other works, but it is not usually believed that he ever denies the separability of the sciences in general. Martha C. Nussbaum has recently presented a lively challenge to this concensus? She argues that Aristotle's late, little known work De Motu Animalium represents a radical but "deliberate and fruitful" rejection of his earlier philosophy of science as enunciated in the Organon and not seriously questioned in other, subsequent writings. Her claim is that in his mature thought about the sciences Aristotle arrives at a significantly "less departmental and more flexible picture of scientific study" (p. 113) and comes to hold that "no inquiry is genuinely separable from a whole group of interlocking studies, and no being can be extensively studied without an account of its placement in the whole of nature" (p. 164). Nussbaum's conclusion is probably not intended to be as Platonic as it may appear at first blush, for she seems actually to be speaking only of connections between sciences of different substances. There is no suggestion that the study of beauty or health or geometry, say, is on a par with the sciences of substances. Nor does she suggest that Aristotle wavers in his conviction that there are fundamental cleavages between the practical and theoretical sciences, which will make a full-blown science of ethics-politics look very different from the demonstrative science of meteorology, for example. Nevertheless, even if limited to the natural sciences of substances, her claim remains an important and interesting one. She holds, more specifically, that Aristotle departs from his earlier position as follows: (1) He recognizes that the biological study of various modes of local motion... (shrink)

We propose that in pictures both the extended limbs of actors and the ground are involved in gestalts for movement. Limbs extend to suggest more motion literally when a dancer is in air and refer to a canonical pose when on the ground. A running pony’s curled limbs off the ground depict fast action literally. A horse’s flying-gallop off the ground suggests speedy motion metaphorically. Cast shadows indicate the actor’s location with respect to the ground. We consider extended (...) and curled limbs, on-ground and off, in literal and metaphoric pictures. (shrink)

Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art. Examining Blanchot's suggestion that art and dream are "outside" of power, as imagination has neither reality nor truth, and Foucault's theory that power forms knowledge by valuing life, Eugene Brent Young relates these to both Deleuze's philosophy of time and his (...) work with Guattari on art. In doing so, he uses case studies from literature and popular film, including Kafka's Castle, Villeneuve's Arrival, and Kubrick's Eyes Wide Shut. Providing important new insights for those working in literary and cinematic studies, this book advances a new definition of art as that which reverses the realities and truths of power to express obscure ideas and values beyond both our exterior and interior worlds. (shrink)

At the turn of the seventeenth century, Bruno and Cavalieri independently developed two theories, central to which was the concept of the geometrical indivisible. The introduction of indivisibles had significant implications for geometry – especially in the case of Cavalieri, for whom indivisibles provided a forerunner of the calculus. But how did this event occur? What can we learn from the fact that two theories of indivisibles arose at about the same time? These are the questions addressed in this paper. (...) Relying on the methodology of “historical epistemology”, this paper asserts that the similarities and differences between the theories of Bruno and Cavalieri can be explained in terms of “shared knowledge”. The paper shows that the idea – on which both Bruno and Cavalieri build – that geometrical objects are generated by motion was part of the mathematical culture of the time. Tracing this idea back to its Pythagorean origins thus sheds light on the relationship between motion and continuum in mathematics. (shrink)

First published in 1990. How we perceive and respond to the visual image has been traditional concern of psychologists, philosophers and art historians. Today, where the visual image increasingly permeates our everyday life and consciousness, the question becomes ever more relevant. How do we, for instance, instinctively ‘know’ what it is that a picture represents without having to be taught? How it is that we experience pleasure in looking at certain pictures? How is it that we often want to talk (...) about the pictures we look at? Such questions are currently asked by a wide range of disciplines, including: semiotics, psychoanalysis, anthropology, neuropsychology, and in general, contemporary critical analysis of the visual arts. In _A Transformational Theory of Aesthetics_, Michael Stephan links the findings of these areas. Drawing on their common area of knowledge, he has developed a theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. A Transformation Theory of Aesthetics is essential reading to those seriously involved in linking the arts and cognitive sciences. (shrink)

This chapter provides an overview of cognitive theory of the moving image, considering it as an approach rather than a methodology. It traces the history and institutional affiliations of cognitive theory, then focuses on the kinds of experiences the moving image media afford viewers, and the design elements that foster those experiences. It distinguishes between “cold” and “hot” cognition and discusses the sense in which cognitive theory can be said to be naturalistic. The chapter goes on to (...) discuss narrative comprehension, cognition and embodiment, character engagement, mood and emotion, and finishes with a discussion of new directions for cognitive theory. Along the way, the chapter also discusses objections to the approach. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Modern science forms an inseparable whole with modern technology. A good deal, if not the greater part of present-day scientific research takes place in industrial research laboratories where science is practised in a technological setting and is exploited for technological ends. In The Netherlands, for instance, 60 to 70% of all the research in physics takes place in, or is financed by industry. For other highly industrialised countries the situation is not very much different. The foregoing means that scientists working (...) on unified field theories, cosmological models, the foundations of quantum mechanics, evolution theory etc. can hardly be said to represent the whole of modern science. Clearly they form a minority among the community of scientists. Nevertheless, philosophers of science tend to direct their attention to the work of this minority and to base their models of science on it. As a consequence, the technological dimension of science, and the methodological problems connected with it, have stayed in the dark. However, in order to arrive at an adequate picture of modern science and of the way it develops, its technological dimension should be taken into account. For instance, the fact that solid state physics has become, in the course of this century, one of the major fields of research within the physical sciences, can only be understood on the basis of the technological relevance of the kind of knowledge produced by this type of research. -/- . (shrink)

Since the fourteenth century, Eastern Woodlands tribes have used delicate purple and white shells called “wampum” to form intricately woven belts. These wampum belts depict significant moments in the lives of the people who make up the tribes, portraying everything from weddings to treaties. Wampum belts can be used as a form of currency, but they are primarily used as a means to record significant oral narratives for future generations. In Reading the Wampum, Kelsey provides the first academic consideration of (...) the ways in which these sacred belts are reinterpreted into current Haudenosaunee tradition. While Kelsey explores the aesthetic appeal of the belts, she also provides insightful analysis of how readings of wampum belts can change our understanding of specific treaty rights and land exchanges. Kelsey shows how contemporary Iroquois intellectuals and artists adapt and reconsider these traditional belts in new and innovative ways. Reading the Wampum conveys the vitality and continuance of wampum traditions in Iroquois art, literature, and community, suggesting that wampum narratives pervade and reappear in new guises with each new generation. (shrink)

Apparent motion is an illusion in which two sequentially presented and spatially separated stimuli give rise to the experience of one moving stimulus. This phenomenon has been deployed in various philosophical arguments for and against various theories of consciousness, time consciousness and the ontology of time. Nevertheless, philosophers have continued working within a framework that does not reflect the current understanding of apparent motion. The main objectives of this paper are to expose the shortcomings of the explanations provided (...) for apparent motion and to offer an alternative explanation for the phenomenon. (shrink)

Regardless of the theory of vagueness we adhere to, we all agree that no facts, known or practically knowable, suffice to determine the location of precise boundaries for vague concepts. According to the epistemic theory of vagueness, this ignorance is entirely an epistemic matter—vague concepts have sharp boundaries but we can never know their exact locations. Opposed to epistemicism is a view—or family of views—I shall call indeterminism. The indeterminist agrees with the epistemicist that we lack knowledge of (...) the locations of sharp boundaries to vague concepts but holds that this ignorance has a somewhat more dramatic source—vague concepts have no sharp boundaries for us to have knowledge of. In recent years, the epistemic theory of vagueness has come to joint the various versions of indeterminism as a theory well-enough supported by argument to demand to be taken seriously. In this paper, I shall try to explain why I am unconvinced by the body of argument that has been marshalled in support of epistemicism; I shall try to explain why we should continue to endorse an indeterminist picture of vagueness. (shrink)

Physical cosmology is one of the disciplines at the forefront of modern science. Using existing physical theories and creating own ones, it describes the dynamics and evolution of the Universe, transforms and modernizes the scientific picture of the world on the largest possible scale. The article analyzes the main presuppositions and outcomes of nowadays cosmology, which are based on fundamental physical principles (theories) and astronomical observations. It has been revealed that throughout its existence as a science (about 100 years), cosmology (...) stimulated the emergence of a plenty of worldview-philosophical problems. Therefore, we need a comprehensive update of the philosophy of cosmology, which can help to realize such problems. Given the need for cooperation between cosmology and the philosophy of science, we propose to use various methodological, ontological, epistemological and other philosophical techniques to solve philosophical problems arising in cosmological research, as well as to generalize the existing knowledge about the Universe. (shrink)

I think we will agree that there are questions that it is not always preferable to put point-blank. Among them we may class that of whether ethics belongs to the category of philosophical knowledge. We know that the custom of regarding ethics as knowledge exclusively philosophical in nature persists to this day. Such a notion, with origins in the past, expresses, in our view, the dominance of spontaneous, uncontrollable factors in the real morality of society. In Hegel's expression, ethical (...) class='Hi'>theory usually came too late: all that was left for it to do was to interpret various changes that had taken place in moral attitudes, shifts in the world of moral reflection and moral feeling. But sometimes it entered the picture entirely too early. On the one hand, this means that ethical theory has been insufficiently oriented toward practice, limiting itself to the rationalization of spontaneously established views and preferences of moral consciousness that we were incapable of abandoning. On the other hand, it testifies that the moral regulation of people's behavior was to only a very small degree subject to the need to be equipped with theory, inasmuch as practice itself was strongly constrained within the narrow limits of the processes of life . Ethical theory, for the most part, provided the morality actually being practiced with various philosophical illusions, in the form of compensatory and adaptive viewpoints, and, along with this, offered certain regulatory notions in the area of socialization to morality. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

As we approach the end of the twentieth century, the ways in which knowledge--scientific, social, and cultural--is produced are undergoing fundamental changes. In The New Production of Knowledge, a distinguished group of authors analyze these changes as marking the transition from established institutions, disciplines, practices, and policies to a new mode of knowledge production. Identifying such elements as reflexivity, transdisciplinarity, and heterogeneity within this new mode, the authors consider their impact and interplay with the role of knowledge in social relations. (...) While the knowledge produced by research and development in science and technology is accorded central focus, the authors also outline the changing dimensions of social scientific and humanities knowledge and the relations between the production of knowledge and its dissemination through education. Placing science policy and scientific knowledge within the broader context of contemporary society, this book will be essential reading for all those concerned with the changing nature of knowledge, with the social study of science, with educational systems, and with the correlation between research and development and social, economic, and technological development. "Thought-provoking in its identification of issues that are global in scope; for policy makers in higher education, government, or the commercial sector." --Choice "By their insightful identification of the recent social transformation of knowledge production, the authors have been able to assert new imperatives for policy institutions. The lessons of the book are deep." --Alexis Jacquemin, Universite Catholique de Louvain and Advisor, Foreign Studies Unit, European Commission "Should we celebrate the emergence of a 'post-academic' mode of postmodern knowledge production of the post-industrial society of the 21st Century? Or should we turn away from it with increasing fear and loathing as we also uncover its contradictions. A generation of enthusiasts and/or critics will be indebted to the team of authors for exposing so forcefully the intimate connections between all the cognitive, educational, organizational, and commercial changes that are together revolutionizing the sciences, the technologies, and the humanities. This book will surely spark off a vigorous and fruitful debate about the meaning and purpose of knowledge in our culture." --Professor John Ziman, (Wendy, Janey at Ltd. is going to provide affiliation. Contact if you don't hear from her.) "Jointly authored by a team of distinguished scholars spanning a number of disciplines, The New Production of Knowledge maps the changes in the mode of knowledge production and the global impact of such transformations. . . . The authors succeed . . . at sketching out, in very large strokes, the emerging trends in knowledge production and their implications for future society. The macro focus of the book is a welcome change from the micro obsession of most sociologists of science, who have pretty much deconstructed institutions and even scientific knowledge out of existence." --Contemporary Sociology "This book is a timely contribution to current discussion on the breakdown of and need to renegotiate the social contract between science and society that Vannevar Bush and likeminded architects of science policy constructed immediately after World War II. It goes far beyond the usual scattering of fragmentary insights into changing institutional landscapes, cognitive structures, or quality control mechanisms of present day science, and their linkages with society at large. Tapping a wide variety of sources, the authors provide a coherent picture of important new characteristics that, taken altogether, fundamentally challenge our traditional notions of what academic research is all about. This well-founded analysis of the social redistribution of knowledge and its associated power patterns helps articulate what otherwise tends to remain an--albeit widespread--intuition. Unless they adapt to the new situation, universities in the future will find the centers of gravity of knowledge production moving even further beyond their ken. Knowledge of the social and cognitive dynamics of science in research is much needed as a basis of science and technology policymaking. The New Production of Knowledge does a lot to fill this gap. Another unique feature is its discussion of the humanities, which are usually left out in works coming out of the social studies of science." --Aant Elzinga, University od Goteborg. (shrink)