Varieties Of Presence

The world shows up for us—it is present in our thought and perception. But, as Alva Noë contends in his latest exploration of the problem of consciousness, it doesn’t show up for free. The world is not simply available; it is achieved rather than given. As with a painting in a gallery, the world has no meaning—no presence to be experienced—apart from our able engagement with it. We must show up, too, and bring along what knowledge and skills we’ve cultivated. This means that education, skills acquisition, and technology can expand the world’s availability to us and transform our consciousness. Although deeply philosophical, Varieties of Presence is nurtured by collaboration with scientists and artists. Cognitive science, dance, and performance art as well as Kant and Wittgenstein inform this literary and personal work of scholarship intended no less for artists and art theorists, psychologists, cognitive scientists, and anthropologists than for philosophers. Noë rejects the traditional representational theory of mind and its companion internalism, dismissing outright the notion that conceptual knowledge is radically distinct from other forms of practical ability or know-how. For him, perceptual presence and thought presence are species of the same genus. Both are varieties of exploration through which we achieve contact with the world. Forceful reflections on the nature of understanding, as well as substantial examination of the perceptual experience of pictures and what they depict or model are included in this far-ranging discussion.

Main description: The world shows up for us-it is present in our thought and perception. But, as Alva Noë contends in his latest exploration of the problem of consciousness, it doesn't show up for free. The world is not simply available; it is achieved rather than given. As with a painting in a gallery, the world has no meaning-no presence to be experienced-apart from our able engagement with it. We must show up, too, and bring along what knowledge and skills we've cultivated. This means that education, skills acquisition, and technology can expand the world's availability to us and transform our consciousness. Although deeply philosophical, Varieties of Presence is nurtured by collaboration with scientists and artists. Cognitive science, dance, and performance art as well as Kant and Wittgenstein inform this literary and personal work of scholarship intended no less for artists and art theorists, psychologists, cognitive scientists, and anthropologists than for philosophers. Noë rejects the traditional representational theory of mind and its companion internalism, dismissing outright the notion that conceptual knowledge is radically distinct from other forms of practical ability or know-how. For him, perceptual presence and thought presence are species of the same genus. Both are varieties of exploration through which we achieve contact with the world. Forceful reflections on the nature of understanding, as well as substantial examination of the perceptual experience of pictures and what they depict or model are included in this far-ranging discussion.

"Perception is not something that happens to us, or in us," writes Alva Noë. "It is something we do." In Action in Perception, Noë argues that perception and perceptual consciousness depend on capacities for action and thought—that perception is a kind of thoughtful activity. Touch, not vision, should be our model for perception. Perception is not a process in the brain, but a kind of skillful activity of the body as a whole. We enact our perceptual experience. To perceive, according to this enactive approach to perception, is not merely to have sensations; it is to have sensations that we understand. In Action in Perception, Noë investigates the forms this understanding can take. He begins by arguing, on both phenomenological and empirical grounds, that the content of perception is not like the content of a picture; the world is not given to consciousness all at once but is gained gradually by active inquiry and exploration. Noë then argues that perceptual experience acquires content thanks to our possession and exercise of practical bodily knowledge, and examines, among other topics, the problems posed by spatial content and the experience of color. He considers the perspectival aspect of the representational content of experience and assesses the place of thought and understanding in experience. Finally, he explores the implications of the enactive approach for our understanding of the neuroscience of perception.

A hundred years after William James delivered the celebrated lectures that became The Varieties of Religious Experience, one of the foremost thinkers in the English-speaking world returns to the questions posed in James's masterpiece to clarify the circumstances and conditions of religion in our day. An elegant mix of the philosophy and sociology of religion, Charles Taylor's powerful book maintains a clear perspective on James's work in its historical and cultural contexts, while casting a new and revealing light upon the present. Lucid, readable, and dense with ideas that promise to transform current debates about religion and secularism, Varieties of Religion Today is much more than a revisiting of James's classic. Rather, it places James's analysis of religious experience and the dilemmas of doubt and belief in an unfamiliar but illuminating context, namely the social horizon in which questions of religion come to be presented to individuals in the first place. Taylor begins with questions about the way in which James conceives his subject, and shows how these questions arise out of different ways of understanding religion that confronted one another in James's time and continue to do so today. Evaluating James's treatment of the ethics of belief, he goes on to develop an innovative and provocative reading of the public and cultural conditions in which questions of belief or unbelief are perceived to be individual questions. What emerges is a remarkable and penetrating view of the relation between religion and social order and, ultimately, of what "religion" means.

A fascinating exploration of the breadth of social, emotional, and spiritual experiences of atheists in America Self-identified atheists make up roughly 5 percent of the American religious landscape, comprising a larger population than Jehovah’s Witnesses, Orthodox Christians, Muslims, Buddhists, and Hindus combined. In spite of their relatively significant presence in society, atheists are one of the most stigmatized groups in the United States, frequently portrayed as immoral, unhappy, or even outright angry. Yet we know very little about what their lives are actually like as they live among their largely religious, and sometimes hostile, fellow citizens. In this book, Jerome P. Baggett listens to what atheists have to say about their own lives and viewpoints. Drawing on questionnaires and interviews with more than five hundred American atheists scattered across the country, The Varieties of Nonreligious Experience uncovers what they think about morality, what gives meaning to their lives, how they feel about religious people, and what they think and know about religion itself. Though the wider public routinely understands atheists in negative terms, as people who do not believe in God, Baggett pushes readers to view them in a different light. Rather than simply rejecting God and religion, atheists actually embrace something much more substantive—lives marked by greater integrity, open-mindedness, and progress. Beyond just talking about or to American atheists, the time is overdue to let them speak for themselves. This book is a must-read for anyone interested in joining the conversation.

From the author of the bestselling Anam Cara comes a beautiful collection of blessings to help readers through both the everyday and the extraordinary events of their lives. John O’Donohue, Irish teacher and poet, has been widely praised for his gift of drawing on Celtic spiritual traditions to create words of inspiration and wisdom for today. In To Bless the Space Between Us, his compelling blend of elegant, poetic language and spiritual insight offers readers comfort and encouragement on their journeys through life. O’Donohue looks at life’s thresholds—getting married, having children, starting a new job—and offers invaluable guidelines for making the transition from a known, familiar world into a new, unmapped territory. Most profoundly, however, O’Donohue explains “blessing” as a way of life, as a lens through which the whole world is transformed. O’Donohue awakens readers to timeless truths and shows the power they have to answer contemporary dilemmas and ease us through periods of change.

Saluting gestures in Roman art and literature -- Jacques-Louis David's Oath of the Horatii -- Raised-arm salutes in the United States before fascism : from the pledge of allegiance to Ben-Hur on stage -- Early cinema : American and European epics -- Cabiria : the intersection of cinema and politics -- Gabriele d'Annunzio and Cabiria -- Fiume : the Roman salute becomes a political symbol -- From D'Annunzio to Mussolini -- Nazi cinema and its impact on Hollywood's Roman epics : from Leni Riefenstahl to Quo vadis -- Visual legacies : antiquity on the screen from Quo vadis to Rome -- Cinema : from Salome to Alexander -- Television : from Star trek to Rome -- Conclusion.

"Works of art sometimes leave us speechless. But they almost never shut us up. They can't. There's just too much to say. Talking about art doesn't leave things as they are; it changes everything. To look, to think, to say what you see, or why you respond as you do, this changes what you see and it changes your response. The effort and the caring remake us. They remake us, in real time, as we listen to the song, or examine the painting, or watch the movie. This is not unique to art, of course. What I have just outlined goes for all experience and is really life's first principle: life is a process of growth and reorganization, a process that commences right then when we first act, for we reorganize ourselves and develop in response to the ways what we do changes what we undergo, as Dewey might have said. But art aims at this; there is art so that we may remake ourselves, and also, so that we may catch ourselves in the act of this remaking. Art requires creation, even from its beholder. Yogi Berra was right: you can see a lot by observing. But observation - the effort and the caring - this requires thought, attention, focus. It can be play, but it is also work-like. Art always proposes a task, and the task is neither easy nor quite well-enough defined. The task, though, is only this: try to perceive, try to bring what is there into focus. If you do this, you will find yourself unveiled and, to whatever little extent, put together anew. The crucial thing to accept is that we don't get all this - the wow, the pleasure, the unveiling, and the reorganization - just for the price of admission. We have to join in, turn on, throw thoughts and reactions at the works themselves, position ourselves to catch them on the rebound, and allow room for emotions, not always positive. This is something we typically do with other people, and in the field cast by their responses and their words and argument. Works of art are always strange provocations; sometimes they offend us; more often they leave us untouched, unaffected, even bored. And this is where their value lies. Each of the short writings collected here is an exercise in giving art and myself the time to let something happen; I try to do this work so that art may do its work. Some of them were written while I was working on my 2015 book Strange Tools: Art and Human Nature, and they flow from the same well of curiosity that nourished that project. The title is borrowed from Joshua C Taylor's famous Learning To Look, which was the first book about art that I ever read"--