Fred Sees

Also published in French as Visages de la Silicon Valley.

This volume of new essays brings together philosophers representing many different perspectives to address central questions in the philosophy of perception.

There has been a philosophical upheaval recently in our understanding of the metaphysics of the mind. The philosophy of mind and action has traditionally treated its subject matter as consisting of states and events, and completely ignored the category of ongoing process. So the mental things that happen - experiences and actions - have been taken to be completed events and not ongoing processes. But events by their very nature as completed wholes are never present to the agent or subject; only ongoing processes can be present to a subject in the way required for conscious experience and practical self-knowledge. This suggests that a proper understanding of processes is required to understand subjective experience and agency. This volume explores the possibility and advantages of taking processes to be the subject matter of the philosophy of mind and action. The central defining feature of the process argument is its use of the progressive (as opposed to perfective) aspect. But beyond this, philosophers working on the metaphysics of processes do not agree. The contributors to this volume take up this argument in the metaphysics of processes. Are processes continuants? Are they particulars at all, or should we rather be thinking of process activity as a kind of stuff? Process, Action, and Experience considers whether practical reasoning and practical self-knowledge require thinking of action in process terms, and it considers arguments for the processive nature of conscious experience.

Thompson provides an accessible review of the current scientific and philosophical discussions of colour vision and is vital reading for all cognitive scientists and philosophers whose interests touch upon this central area.Colour fascinates all of us, and scientists and philosophers have sought to understand the true nature of colour vision for many years. In recent times, investigations into colour vision have been one of the success stories of cognitive science, for each discipline within the field - neuroscience, psychology, linguistics, computer science and artificial intelligence, and philosophy - has contributed significantly to our understanding of colour. Evan Thompson's book is a major contribution to this interdisciplinary project.Colour Vision provides an accessible review of the current scientific and philosophical discussions of colour vision. Thompson steers a course between the subjective and objective positions on colour, arguing for a relational account. This account develops a novel 'ecological' approach to colour vision in cognitive science and the philosophy of perception. It is vital reading for all cognitive scientists and philosophers whose interests touch upon this central area.

John Horty effectively develops deontic logic (the logic of ethical concepts like obligation and permission) against the background of a formal theory of agency. He incorporates certain elements of decision theory to set out a new deontic account of what agents ought to do under variousconditions over extended periods of time. Offering a conceptual rather than technical emphasis, Horty's framework allows a number of recent issues from moral theory to be set out clearly and discussed from a uniform point of view.

Semantics: A Reader contains a broad selection of classic articles on semantics and the semantics/pragmatics interface. Comprehensive in the variety and breadth of theoretical frameworks and topics that it covers, it includes articles representative of the major theoretical frameworks within semantics, including: discourse representation theory, dynamic predicate logic, truth theoretic semantics, event semantics, situation semantics, and cognitive semantics. All the major topics in semantics are covered, including lexical semantics and the semantics of quantified noun phrases, adverbs, adjectives, performatives, and interrogatives. Included are classic papers in the field of semantics as well as papers written especially for the volume. The volume comes with an extensive introduction designed not only to provide an overview of the field, but also to explain the technical concepts the beginner will need to tackle before the more demanding articles. Semantics will have appeal as a textbook for upper level and graduate courses and as a reference for scholars of semantics who want the classic articles in their field in one convenient place.

Beginning with Lost Highway, director David Lynch “swerved” in a new direction, one in which very disorienting images of the physical world take center stage in his films. Seeking to understand this unusual emphasis in his work, noted Lynch scholar Martha Nochimson engaged Lynch in a long conversation of unprecedented openness, during which he shared his vision of the physical world as an uncertain place that masks important universal realities. He described how he derives this vision from the Holy Vedas of the Hindu religion, as well as from his layman’s fascination with modern physics. With this deep insight, Nochimson forges a startlingly original template for analyzing Lynch’s later films—the seemingly unlikely combination of the spiritual landscape envisioned in the Holy Vedas and the material landscape evoked by quantum mechanics and relativity. In David Lynch Swerves, Nochimson navigates the complexities of Lost Highway, The Straight Story, Mulholland Drive, and Inland Empire with uncanny skill, shedding light on the beauty of their organic compositions; their thematic critiques of the immense dangers of modern materialism; and their hopeful conceptions of human potential. She concludes with excerpts from the wide-ranging interview in which Lynch discussed his vision with her, as well as an interview with Columbia University physicist David Albert, who was one of Nochimson’s principal tutors in the discipline of quantum physics.

Assesses how America’s film industry remembered World War I during the interwar period. This is the definitive account of how America’s film industry remembered and reimagined World War I from the Armistice in 1918 to the outbreak of World War II in 1939. Based on detailed archival research, Michael Hammond shows how the war and the sociocultural changes it brought made their way into cinematic stories and images. He traces the development of the war’s memory in films dealing with combat on the ground and in the air, the role of women behind the lines, returning veterans, and through the social problem and horror genres. Hammond first examines movies that dealt directly with the war and the men and women who experienced it. He then turns to the consequences of the war as they played out across a range of films, some only tangentially related to the conflict itself. Hammond finds that the Great War acted as a storehouse of motifs and tropes drawn upon in the service of an industry actively seeking to deliver clearly told, entertaining stories to paying audiences. Films analyzed include The Big Parade, Grand Hotel, Hell’s Angels, The Black Cat, and Wings. Drawing on production records, set designs, personal accounts, and the advertising and reception of key films, the book offers unique insight into a cinematic remembering that was a product of the studio system as it emerged as a global entertainment industry. “Hammond’s intelligent and insightful account of the formation of cinematic treatments of the Great War in America constitutes a major addition to the critical literature on film. It acts as a prism through which to see refracted multiple themes central to the social and cultural history of the interwar years.” — Jay Winter, author of War beyond Words: Languages of Memory from the Great War to the Present