Explores the cognitive possibilities of nonsense, literary and philosophical, from Kant to Carroll, from examinations of Asperger's to the waking state.
An illuminating look at the surprising upside of ambiguity—and how, properly harnessed, it can inspire learning, creativity, even empathy Life today feels more overwhelming and chaotic than ever. Whether it’s a confounding work problem or a faltering relationship or an unclear medical diagnosis, we face constant uncertainty. And we’re continually bombarded with information, much of it contradictory. Managing ambiguity—in our jobs, our relationships, and daily lives—is quickly becoming an essential skill. Yet most of us don’t know where to begin. As Jamie Holmes shows in Nonsense, being confused is unpleasant, so we tend to shutter our minds as we grasp for meaning and stability, especially in stressful circumstances. We’re hard-wired to resolve contradictions quickly and extinguish anomalies. This can be useful, of course. When a tiger is chasing you, you can’t be indecisive. But as Nonsense reveals, our need for closure has its own dangers. It makes us stick to our first answer, which is not always the best, and it makes us search for meaning in the wrong places. When we latch onto fast and easy truths, we lose a vital opportunity to learn something new, solve a hard problem, or see the world from another perspective. In other words, confusion—that uncomfortable mental place—has a hidden upside. We just need to know how to use it. This lively and original book points the way. Over the last few years, new insights from social psychology and cognitive science have deepened our understanding of the role of ambiguity in our lives and Holmes brings this research together for the first time, showing how we can use uncertainty to our advantage. Filled with illuminating stories—from spy games and doomsday cults to Absolut Vodka’s ad campaign and the creation of Mad Libs—Nonsense promises to transform the way we conduct business, educate our children, and make decisions. In an increasingly unpredictable, complex world, it turns out that what matters most isn’t IQ, willpower, or confidence in what we know. It’s how we deal with what we don’t understand.
I have tutored many, many people in Math through Calculus, and I have found that if you start off with the basics and take things one step at a time - anyone can learn complex Math topics. This book has literally hundreds of example problems ranging in all levels of complexity. Each problem is broken down into bite-sized-chunks so that no one gets lost. This book will take anyone with no prior exposure to Algebra and raise their scores significantly!
First published in 2000. This is Volume II of six in the Library of Philosophy series on the Philosophy of Science. Written in 1938, philosophical systems which employ logical methods almost exclusively would undoubtedly be expected to produce non-empirical results. If, however, logic is taken simply as a method of connecting meanings it is not difficult to reconcile logical methods with empirical results. If logical formular, in other words, assert nothing about the meanings of propositions, but simply show how such meanings are connected, then an empiricism based on a logical analysis of meanings is not inconsistent. This is what the Logical Positivists have attempted to do. This book looks at two areas: the foundations of a scientific method free from metaphysics, and the elimination of pseudo-concepts introduced by metaphysics into science and philosophy.
The dead have no respect for anyone trying to have a life. Portia Mahaffey always liked that she was the only woman in her family without a psychic ‘gift'. But a concussion awakens her latent ability to see ghosts. And one of those ghosts is prepared to haunt her until Portia agrees to convince the police her death was no accident. With no choice but to help Corinne, Portia reluctantly uses her new gift and some good old-fashioned detection to track down the truth. Seeing the dead is just the beginning. Portia's world becomes filled with hungry demons, mercenary shadow beings, vengeful poltergeists. . .and one very alive murderer willing rank her among the dead. Who knew hanging with the dead could be so hazardous to the living? WARNING: Contains mild sexual escapades, ghosts, demons, and flatulent pugs. 76,991 Words
Locating poetry in a philosophy of the everyday, Brett Bourbon continues a tradition of attention to logic in everyday utterances through Wittgenstein, Austin, Quine, and Cavell, arguing that poems are events of form, not just collections of words, which shape everyone's lives. Poems taught in class are formalizations of the everyday poems we live amidst, albeit unknowingly. Bourbon resurrects these poems to construct an anthropology of form that centers everyday poems as events or interruptions within our lives. Expanding our understanding of what a poem is, this book argues that poems be understood as events of form that may depend on words but are not fundamentally constituted by them. This line of thought delves into a poem's linguistic particularity, to ask what a poem is and how we know. By reclaiming arenas previously ceded to essayists and literary writers, Bourbon reveals the care and attention necessary to uncovering the intimate relationship between poems, life, reading and living. A philosophical meditation on the nature of poetry, but also on the meaning of love and the claim of words upon us, Everyday Poetics situates the importance of everyday poems as events in our lives.
This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period. Magda Dragu distinguishes between the concepts of collage and montage, as defined across several media (fine arts, literature, music, film, photography), based on the type of artistic meaning they generate, rather than the mechanical procedures involved. The book applies theories of intermediality to collage and montage, which is crucial for understanding collage as a form of cultural production. Throughout, the author considers the political implications, as collages and montages were often used for propagandistic purposes. This book combines research methods used in several areas of inquiry: art history, literary criticism, analytical philosophy, musicology, and aesthetics.