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Jordi Fernndez here offers a philosophical investigation of memory, one which engages with memory's philosophically puzzling characteristics in order to clarify what memory is. Memories interact with mental states of other types in a particular way, and they also have associated feelings that these other mental states lack. They are special in terms of their representational capacity too, since one can have memories of objective events as well as memories of one's own past experiences. Finally, memories are epistemically unique, in that beliefs formed on the basis of memories are protected from certain errors of misidentification, and are justified in a way which does not rely on any cognitive capacity other than memory. To explain these unique features, Fernndez proposes that memories have a particular functional role which involves past perceptual experiences and beliefs about the past. He suggests that memories have a particular content as well, namely that they represent themselves as having a certain causal origin. Fernndez then explains the feelings associated with our memories as the experience of some of the things that our memories represent, things such as our own past experiences, or the fact that memories originate in those experiences. He also accounts for the special justification for belief afforded by our memories in terms of the content that memories have. The resulting picture is a unified account of several philosophically interesting aspects of memory, one that will appeal to philosophers of mind, metaphysicians, and epistemologists alike.

Jordi Fernndez here offers a philosophical investigation of memory, one which engages with memory's philosophically puzzling characteristics in order to clarify what memory is. Memories interact with mental states of other types in a particular way, and they also have associated feelings that these other mental states lack. They are special in terms of their representational capacity too, since one can have memories of objective events as well as memories of one's own past experiences. Finally, memories are epistemically unique, in that beliefs formed on the basis of memories are protected from certain errors of misidentification, and are justified in a way which does not rely on any cognitive capacity other than memory. To explain these unique features, Fernndez proposes that memories have a particular functional role which involves past perceptual experiences and beliefs about the past. He suggests that memories have a particular content as well, namely that they represent themselves as having a certain causal origin. Fernndez then explains the feelings associated with our memories as the experience of some of the things that our memories represent, things such as our own past experiences, or the fact that memories originate in those experiences. He also accounts for the special justification for belief afforded by our memories in terms of the content that memories have. The resulting picture is a unified account of several philosophically interesting aspects of memory, one that will appeal to philosophers of mind, metaphysicians, and epistemologists alike.

Alexander Berne and his Abandoned Orchestra have returned with their third multi-CD set. Berne's latest finds him further refining and deepening a tonal vocabulary that has garnered him spots on critics' Best of lists and found him compared to striking artists from across multiple genres including Kubrick Cage Schoenberg and Joyce.

Luhmann sociology U of Bielefield Germany argues that there is no individuality as seen from the outside only self referential individuality This means that cells and societies maybe even physical atoms are all individuals Conscious systems which can conceive of the identity of the difference between themselves and society have no exceptional status in the author s view He examines social systems communication religion art politics and law

Luhmann sociology U of Bielefield Germany argues that there is no individuality as seen from the outside only self referential individuality This means that cells and societies maybe even physical atoms are all individuals Conscious systems which can conceive of the identity of the difference between themselves and society have no exceptional status in the author s view He examines social systems communication religion art politics and law

Double vinyl LP pressing. Echos, the Portland duo, fall into a genreless mist of both cinematic post-rock style instrumentation and left-of-center pop writing; paving a new path, and style along the way. Often self-referential and coated in bitter-romance lyricism, Echos brings the angst of 2006s emo days and reinvents it with 2018s anti-pop pop-music. Echos has seen the fortune of millions of streams, impressions, and eyes on their music. Finding importance in the physical, Echos has not only

Abbas Kiarostami first came to international attention for this wondrous, slyly self-referential series of films set in the rural northern-Iranian town of Koker. Poised delicately between fiction and documentary, comedy and tragedy, the lyrical fables in The Koker Trilogy exemplify both the gentle humanism and playful sleight of hand that define the director's sensibility. With each successive film, Kiarostami takes us deeper into the behind-the-scenes reality of the film that preceded it, heigh

It has become commonplace these days to speak of “unpacking” texts. Voice and Vision is a book about packing that prose in the first place. While history is scholarship, it is also art—that is, literature. And while it has no need to emulate fiction, slump into memoir, or become self-referential text, its composition does need to be conscious and informed. Voice and Vision is for those who wish to understand the ways in which literary considerations can enhance nonfiction writing. At issue is not whether writing is scholarly or popular, narrative or analytical, but whether it is good. Fiction has guidebooks galore; journalism has shelves stocked with manuals; certain hybrids such as creative nonfiction and the new journalism have evolved standards, esthetics, and justifications for how to transfer the dominant modes of fiction to topics in nonfiction. But history and other serious or scholarly nonfiction have nothing comparable. Now this curious omission is addressed by Stephen Pyne as he analyzes and teaches the craft that undergirds whole realms of nonfiction and book-based academic disciplines. With eminent good sense concerning the unique problems posed by research-based writing and with a wealth of examples from accomplished writers, Pyne, an experienced and skilled writer himself, explores the many ways to understand what makes good nonfiction, and explains how to achieve it. His counsel and guidance will be invaluable to experts as well as novices in the art of writing serious and scholarly nonfiction.

Neon Genesis Evangelion is the most controversial -- and some say the best -- anime of the decade. Set in the year 2015 when humanity faces a terrifying last judgment from mysterious giant "Angels," the series has been acclaimed for its original story line, direct psychological content, and self-referential examination of the genre.

New York Times bestselling author William Lashner returns with a brilliantly twisty tale that probes the dark side of the law -- and manUnlike the rest of you, I cheerfully admit to my own utter selfishness. I am self-made, self-absorbed, self-serving, self-referential, even self-deprecating, in a charming sort of way. In short, I am all the selfs except selfless. Yet every so often, I run across a force of nature that shakes my sublime self-centeredness to its very roots. Something that tears through the landscape like a tornado, leaving nothing but ruin and reexamination in its wake. Something like Bob. --Victor CarlA beautiful young woman is dead, her husband convicted of the murder. In seeking a new trial for the husband, defense attorney Victor Carl must confront not only a determined prosecutor and a police detective who might have set up his client, but also a strange little busybody named Bob.Bob has the aspiration, one could even say compulsion, to help those around him. And it usually works out well for all concerned, except when it ends in blood. But Victor doesn’t know that . . . yet.Thanks to Bob, Victor is suddenly dressing better, dating a stunning woman, and both his economic prospects and his teeth are gleaming. It’s all good, until Victor finds a troubling connection between Bob and the murdered wife. Is Bob a kind of saint or is this obsessive Good Samaritan, in reality, a murderer?Filled with the keen wit, deep poignancy, twisting suspense, and dark realism that has entranced readers, impressed reviewers, and made William Lashner’s previous novels bestsellers, Falls the Shadow is a riveting novel sure to leave readers eager for more.

Between Literature and Science follows through to its emerging 21st-century future the central insight of 20th-century literary and cultural theory: that language and culture, along with their subsystems and artifacts, are self-referential systems. The book explores the workings of self-reference (and the related performativity) in linguistic utterances and assorted texts, through examples of the more open social-discursive systems of post-structuralism and cultural studies, and into the sciences, where complex systems organized by recursive self-reference are now being embraced as an emergent paradigm. This paradigmatic convergence between the humanities and sciences is autopoetics (adapting biologist Hubert Maturana’s term for “self-making” systems), and it signals a long-term epistemological shift across the nature/culture divide so definitive for modernity.  If cultural theory has taught us that language, because of its self-referential nature, cannot bear simple witness to the world, the new paradigmatic status of self-referential systems in the natural sciences points toward a revived kinship of language and culture with the world: language bears “witness” to the world. The main movement of the book is through a series of model explications and analyses, operational definitions of concepts and terms, more extended case studies, vignettes and thought experiments designed to give the reader a feel for the concepts and how to use them, while working to expand the autopoetic internee by putting cultural self-reference in dialogue with the self-organizing systems of the sciences.  Along the way the reader is introduced to self-reference in epistemology (Foucault), sociology (Luhmann), biology (Maturana/Varela/Kauffman), and physics and cosmology (Smolin). Livingston works through the fundamentals of cultural, literary, and science studies and makes them comprehensible to a non-specialist audience.  

Plato’s Four Muses reconstructs Plato’s authorial self-portrait through a fresh reading of the Phaedrus, with an Introduction and Conclusion that contextualize the construction more broadly. The Phaedrus, it is argued, is Plato’s most self-referential dialogue, and Plato’s reference to four Muses in Phaedrus 259c–d is read as a hint at the “ingredients” of philosophical discourse, which turns out to be a form of provocatively old-fashioned mousikê.Andrea Capra maintains that Socrates’s conversion to “demotic”―as opposed to metaphorical―music in the Phaedo closely parallels the Phaedrus and is apologetic in character, since Socrates was held responsible for dismissing traditional mousikê. This parallelism reveals three surprising features that define Plato’s works: first, a measure of anti-intellectualism (Plato counters the rationalistic excesses of other forms of discourse, thus distinguishing it from both prose and poetry); second, a new beginning for philosophy (Plato conceptualizes the birth of Socratic dialogue in, and against, the Pythagorean tradition, with an emphasis on the new role of writing); and finally, a self-consciously ambivalent attitude with respect to the social function of the dialogues, which are conceived both as a kind of “resistance literature” and as a preliminary move toward the new poetry of the Kallipolis.

Sociopolitical Ecology introduces the concept of `ecological field' to replace that of `ecosystem' and extends the boundaries of self-referential systems to a new, more complex level of analysis. Ecological field refers to an overarching system that contains many self-referential (or autopoietic) systems that interact in a common space, with human beings placed squarely in the middle of all natural ecological networks. The focus of this fascinating study is the interlocking pattern of relations among human beings within an ecological field - what the author designates as `sociopolitical ecology'. The book argues that most societies are not self-contained systems, but rather ecological fields, that is complexes of several interacting systems.

Plato’s Four Muses reconstructs Plato’s authorial self-portrait through a fresh reading of the Phaedrus, with an Introduction and Conclusion that contextualize the construction more broadly. The Phaedrus, it is argued, is Plato’s most self-referential dialogue, and Plato’s reference to four Muses in Phaedrus 259c–d is read as a hint at the “ingredients” of philosophical discourse, which turns out to be a form of provocatively old-fashioned mousikê.Andrea Capra maintains that Socrates’s conversion to “demotic”―as opposed to metaphorical―music in the Phaedo closely parallels the Phaedrus and is apologetic in character, since Socrates was held responsible for dismissing traditional mousikê. This parallelism reveals three surprising features that define Plato’s works: first, a measure of anti-intellectualism (Plato counters the rationalistic excesses of other forms of discourse, thus distinguishing it from both prose and poetry); second, a new beginning for philosophy (Plato conceptualizes the birth of Socratic dialogue in, and against, the Pythagorean tradition, with an emphasis on the new role of writing); and finally, a self-consciously ambivalent attitude with respect to the social function of the dialogues, which are conceived both as a kind of “resistance literature” and as a preliminary move toward the new poetry of the Kallipolis.

Published in conjunction with an exhibition on Belgian artist Rinus van de Velde at CAC Málaga from February through March 2013, this catalogue focuses on the self-referential nature of his work. The titles accompanying many of his images, in which the artist himself is the protagonist, are small narratives about the fictions they depict, or real-life reflections on the creative process, his beliefs and sentiments. In opposition to the real self, his self-portraits are an exercise in introspection that focuses on a recurring theme artistic creation but also the anti-ego. Besides numerous works and texts by the artist, the book includes a critical essay by Juan Francisco Rueda.

Sociopolitical Ecology introduces the concept of `ecological field' to replace that of `ecosystem' and extends the boundaries of self-referential systems to a new, more complex level of analysis. Ecological field refers to an overarching system that contains many self-referential (or autopoietic) systems that interact in a common space, with human beings placed squarely in the middle of all natural ecological networks. The focus of this fascinating study is the interlocking pattern of relations among human beings within an ecological field - what the author designates as `sociopolitical ecology'. The book argues that most societies are not self-contained systems, but rather ecological fields, that is complexes of several interacting systems.

Examines poems by Spenser, Milton, Wordsworth, Chaucer, Keats, Frost, and Auden, and discusses the self-referential qualities of poetry

What many educationists, reading authorities, and other experts claim that research shows casts doubt on the entire enterprise of learning and teaching. When various current theories maintain that reading is misreading, that representation is an illusion, that all signifying is only self-referential, and that attempts to instruct are acts of oppression- it seems time for counterstatement. In this book, Ann Berthoff has posed three questions that frame the book's structure and whose answers frame her counterstatement: Is teaching still possible? Is learning still possible? Is reading still possible? The answer is yes, if we make interpretation central. These essays take as their point of departure the idea that we learn by representing our recognitions, interpreting those representations, and interpreting the interpretations. That capacity for making meaning by interpreting signs is what C. S. Peirce called "the sense of learning." For those who claim an interest in the value of literacy, or who find they are being held accountable for fostering it, these essays can offer aid and comfort, fresh perspectives, and down-to-earth argument.

Critical praise for the original edition: "[The Myth of Religious Neutrality] is very well written. It is clear and informative. There is excellent work on recognizing deficient theories in terms of logical inconsistency, self-referential incoherence, self-assumptive incoherence, and self-performative incoherence. [Clouser’s] case studies point out clearly the uproven presuppositions behind many so-called 'rationalist' theories about various aspects of reality." —Review of Metaphysics "[S]ignificant and challenging. . . . Clouser’s book makes the case that all theorizing inevitably involves religious beliefs. Clouser’s analysis of religion is rich and insightful. . . . [He] articulates a fundamental theme that both modernist and post-modernist thinkers need to recognize: that intellectual activity is deeply and inescapably religious." —Calvin Theological Journal "This book can be warmly commended. It treats important issues in a clear and energetic way and it is a genuine attempt to break some new ground in the philosophy of religion." —Religious Studies Written for undergraduates, the educated layperson, and scholars in fields other than philosophy, The Myth of Religious Neutrality offers a radical reinterpretation of the general relations between religion, science, and philosophy. This new edition has been completely revised and updated by the author.

Examines poems by Spenser, Milton, Wordsworth, Chaucer, Keats, Frost, and Auden, and discusses the self-referential qualities of poetry