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This astonishing book presents a distinctive approach to the politics of everyday life. Ranging across a variety of spaces in which politics and the political unfold, it questions what is meant by perception, representation and practice, with the aim of valuing the fugitive practices that exist on the margins of the known. It revolves around three key functions. It: introduces the rather dispersed discussion of non-representational theory to a wider audience provides the basis for an experimental rather than a representational approach to the social sciences and humanities begins the task of constructing a different kind of political genre. A groundbreaking and comprehensive introduction to this key topic, Thrift’s outstanding work brings together further writings from a body of work that has come to be known as non-representational theory. This noteworthy book makes a significant contribution to the literature in this area and is essential reading for researchers and postgraduates in the fields of social theory, sociology, geography, anthropology and cultural studies.

This astonishing book presents a distinctive approach to the politics of everyday life. Ranging across a variety of spaces in which politics and the political unfold, it questions what is meant by perception, representation and practice, with the aim of valuing the fugitive practices that exist on the margins of the known. It revolves around three key functions. It: introduces the rather dispersed discussion of non-representational theory to a wider audience provides the basis for an experimental rather than a representational approach to the social sciences and humanities begins the task of constructing a different kind of political genre. A groundbreaking and comprehensive introduction to this key topic, Thrift’s outstanding work brings together further writings from a body of work that has come to be known as non-representational theory. This noteworthy book makes a significant contribution to the literature in this area and is essential reading for researchers and postgraduates in the fields of social theory, sociology, geography, anthropology and cultural studies.

Argues that representational correctness can cause critics to miss the positive work that films and television shows can perform in reducing prejudice.Representational correctness describes an implicit set of norms, including accuracy, purity, and innocence, that guide much of popular media criticism. In this provocative book, Edward Schiappa argues that representational correctness is unproductive, antagonistic to audience research, and typically disconnected from relevant social psychological or mass communication theories. Analyzing criticisms of such television shows as Will & Grace and Queer Eye for the Straight Guy, Schiappa argues that the norms of representational correctness can cause critics to miss the positive work such shows perform in reducing prejudice. He contends that too many critics focus on isolated scenes or interactions that perpetuate a stereotype without considering the larger work that films and television shows can accomplish. Schiappa concludes that pop culture critics need to engage in more audience research, draw from relevant research in social psychology, praise positive representations and programming, and promote critical media literacy in both classroom and public pedagogy.

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Introducing basic distinctions in philosophy of mind for characterizing the mental, Perner discusses differences in how commonsense and cognitive psychology view the mind. He traces the onset of a commonsense psychology in the social and emotional awareness of early infancy, revealing how the child begins to take a cognitive, representational view of the mind with repercussions for children's episodic memory, self-control, and their ability to engage in deception.

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Varieties of Realism argues that it is not possible to represent the layout of objects and surfaces in space outside the dictates of formal visual geometry, the geometry of natural perspective. The book examines most of the world's coherent representational art styles, both in terms of the geometry of their creation and in terms of their perceptual effects on the viewer. A lucid exposition of modern geometrical principles and relations, accessible to the nonmathematical reader, is followed by an analysis of all known styles as variants of natural perspective, as true varieties of realism. Delineating the physical and mechanical constraints that determine the act of visual representation in painting and drawing, the author traces the intimate relations among seemingly distant styles and considers the kind of perceptual information about the world each can carry. Margaret Hagen is a perceptual psychologist with an ecological point of view. Her rigorous but readable presentation of visual theory and research offers provocative new insights into the connections among vision, geometry, and art.

Can neurophysiology ever reveal to us what it is like to smell a skunk or to experience pain? In what does the feeling of happiness consist? How is it that changes in the white and gray matter composing our brains generate subjective sensations and feelings? These are several of the questions that Michael Tye addresses, while formulating a new and enlightening theory about the phenomenal "what it feels like" aspect of consciousness. The test of any such theory, according to Tye, lies in how well it handles ten critical problems of consciousness. Tye argues that all experiences and all feelings represent things, and that their phenomenal aspects are to be understood in terms of what they represent. He develops this representational approach to consciousness in detail with great ingenuity and originality. In the book's first part Tye lays out the domain, the ten problems and an associated paradox, along with all the theories currently available and the difficulties they face. In part two, he develops his intentionalist approach to consciousness. Special summaries are provided in boxes and the ten problems are illustrated with cartoons.

Can neurophysiology ever reveal to us what it is like to smell a skunk or to experience pain? In what does the feeling of happiness consist? How is it that changes in the white and gray matter composing our brains generate subjective sensations and feelings? These are several of the questions that Michael Tye addresses, while formulating a new and enlightening theory about the phenomenal "what it feels like" aspect of consciousness. The test of any such theory, according to Tye, lies in how well it handles ten critical problems of consciousness.Tye argues that all experiences and all feelings represent things, and that their phenomenal aspects are to be understood in terms of what they represent. He develops this representational approach to consciousness in detail with great ingenuity and originality. In the book's first part Tye lays out the domain, the ten problems and an associated paradox, along with all the theories currently available and the difficulties they face. In part two, he develops his intentionalist approach to consciousness. Special summaries are provided in boxes and the ten problems are illustrated with cartoons.A Bradford BookRepresentation and Mind series

A neuroscientifically informed theory arguing that the core of qualitative conscious experience arises from the integration of sensory and cognitive modalities.Although science has made considerable progress in discovering the neural basis of cognitive processes, how consciousness arises remains elusive. In this book, Cyriel Pennartz analyzes which aspects of conscious experience can be peeled away to access its core: the “hardest” aspect, the relationship between brain processes and the subjective, qualitative nature of consciousness. Pennartz traces the problem back to its historical roots in the foundations of neuroscience and connects early ideas on sensory processing to contemporary computational neuroscience. What can we learn from neural network models, and where do they fall short in bridging the gap between neural processes and conscious experience? Do neural models of cognition resemble inanimate systems, and how can this help us define requirements for conscious processing in the brain? These questions underlie Pennartz's examination of the brain's anatomy and neurophysiology. The perspective of his account is not limited to visual perception but broadened to include other sensory modalities and their integration. Formulating a representational theory of the neural basis of consciousness, Pennartz outlines properties that complex structures must express to process information consciously. This theoretical framework is constructed using empirical findings from neuropsychology and neuroscience as well as such theoretical arguments as the Cuneiform Room and the Wall Street Banker. Positing that qualitative experience is a multimodal and multilevel phenomenon at its very roots, Pennartz places this body of theory in the wider context of mind-brain philosophy, examining implications for our thinking about animal and robot consciousness.

Representations―in visual arts and in fiction―play an important part in our lives and culture. Kendall Walton presents here a theory of the nature of representation, which illuminates its many varieties and goes a long way toward explaining its importance. Drawing analogies to children’s make believe activities, Walton constructs a theory that addresses a broad range of issues: the distinction between fiction and nonfiction, how depiction differs from description, the notion of points of view in the arts, and what it means for one work to be more “realistic” than another. He explores the relation between appreciation and criticism, the character of emotional reactions to literary and visual representations, and what it means to be caught up emotionally in imaginary events.Walton’s theory also provides solutions to the thorny philosophical problems of the existence―or ontological standing―of fictitious beings, and the meaning of statements referring to them. And it leads to striking insights concerning imagination, dreams, nonliteral uses of language, and the status of legends and myths.Throughout Walton applies his theoretical perspective to particular cases; his analysis is illustrated by a rich array of examples drawn from literature, painting, sculpture, theater, and film. Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Representations--in visual arts and in fiction--play an important part in our lives and culture. Kendall Walton presents here a theory of the nature of representation, which illuminates its many varieties and goes a long way toward explaining its importance. Drawing analogies to children's make believe activities, Walton constructs a theory that addresses a broad range of issues: the distinction between fiction and nonfiction, how depiction differs from description, the notion of points of view in the arts, and what it means for one work to be more "realistic" than another. He explores the relation between appreciation and criticism, the character of emotional reactions to literary and visual representations, and what it means to be caught up emotionally in imaginary events. Walton's theory also provides solutions to the thorny philosophical problems of the existence--or ontological standing--of fictitious beings, and the meaning of statements referring to them. And it leads to striking insights concerning imagination, dreams, nonliteral uses of language, and the status of legends and myths. Throughout Walton applies his theoretical perspective to particular cases; his analysis is illustrated by a rich array of examples drawn from literature, painting, sculpture, theater, and film. Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Emerging over the past ten years from a set of post-structuralist theoretical lineages, non-representational theories are having a major impact both within and outside of the human geography discipline. This non-representational theorization and research has opened up new sets of problematics around practice and performativity while also inspiring new ways of doing and writing human geography that aim to engage with the taking-place of everyday life. Written in a clear and accessible style and drawing together a range of innovative contributions from leading writers, this the first book to provide an extensive and in-depth overview of non-representational theories and human geography. Each contributor has been selected to address a specific theme and provide a unique perspective on the current state of non-representational theories. It includes interventions by those at the 'centre' of the movement as well as emergent voices. In doing so, it addresses the core concerns and themes of wh

Most art books are not in the first person, so while there is some truth to the analyses, some things are always off. Robert C. Jackson set out to interview 20 contemporary representational artists (himself included) and showcase their artwork within the context of their interviews. Here you will meet Steven Assael, Bo Bartlett, Debra Bermingham, Margaret Bowland, Paul Fenniak, Scott Fraser, Woody Gwyn, F. Scott Hess, Laurie Hogin, Robert C. Jackson, Alan Magee, Janet Monafo, John Moore, Charles Pfahl, Scott Prior, Stone Roberts, Sandra Mendelsohn Rubin, Daniel Sprick, Will Wilson, and Jerome Witkin. Each of these artists has a very elusive quality–a unique voice. Seeing their work from across a room they are all recognizable. Their artworks are showcased in this large book with more than 140 images of their paintings as well as photographs of the artists in their studios and an epilogue by Pamela Sienna.

Unread book in perfect condition.

Most art books are not in the first person, so while there is some truth to the analyses, some things are always off. Robert C. Jackson set out to interview 20 contemporary representational artists (himself included) and showcase their artwork within the context of their interviews. Here you will meet Steven Assael, Bo Bartlett, Debra Bermingham, Margaret Bowland, Paul Fenniak, Scott Fraser, Woody Gwyn, F. Scott Hess, Laurie Hogin, Robert C. Jackson, Alan Magee, Janet Monafo, John Moore, Charles Pfahl, Scott Prior, Stone Roberts, Sandra Mendelsohn Rubin, Daniel Sprick, Will Wilson, and Jerome Witkin. Each of these artists has a very elusive quality–a unique voice. Seeing their work from across a room they are all recognizable. Their artworks are showcased in this large book with more than 140 images of their paintings as well as photographs of the artists in their studios and an epilogue by Pamela Sienna.

Representations―in visual arts and in fiction―play an important part in our lives and culture. Kendall Walton presents here a theory of the nature of representation, which illuminates its many varieties and goes a long way toward explaining its importance. Drawing analogies to children’s make believe activities, Walton constructs a theory that addresses a broad range of issues: the distinction between fiction and nonfiction, how depiction differs from description, the notion of points of view in the arts, and what it means for one work to be more “realistic” than another. He explores the relation between appreciation and criticism, the character of emotional reactions to literary and visual representations, and what it means to be caught up emotionally in imaginary events.Walton’s theory also provides solutions to the thorny philosophical problems of the existence―or ontological standing―of fictitious beings, and the meaning of statements referring to them. And it leads to striking insights concerning imagination, dreams, nonliteral uses of language, and the status of legends and myths.Throughout Walton applies his theoretical perspective to particular cases; his analysis is illustrated by a rich array of examples drawn from literature, painting, sculpture, theater, and film. Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

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