Is what we have reason to do a matter of fact? If so, what kind of truth is involved, how can we know it, and how do reasons motivate and explain action? In this concise and lucid book T.M. Scanlon offers answers, with a qualified defence of normative cognitivism - the view that there are normative truths about reasons for action.
This book uses insights from the cognitive sciences to illuminate Kafka’s poetics, exemplifying a paradigm for literary studies in which cognitive-scientific insights are brought to bear directly on literary texts. The volume shows that the concept of "cognitive realism" can be a critically productive framework for exploring how textual evocations of cognition correspond to or diverge from cognitive realities, and how this may affect real readers. In particular, it argues that Kafka’s evocations of visual perception (including narrative perspective) and emotion can be understood as fundamentally enactive, and that in this sense they are "cognitively realistic". These cognitively realistic qualities are likely to establish a compellingly direct connection with the reader’s imagination, but because they contradict folk-psychological assumptions about how our minds work, they may also leave the reader unsettled. This is the first time a fully interdisciplinary research paradigm has been used to explore a single author’s fictional works in depth, opening up avenues for future research in cognitive literary science.
This book exhibits deep philosophical quandaries and intricacies of the historical development of science lying behind a simple and fundamental item of common sense in modern science, namely the composition of water as H2O. Three main phases of development are critically re-examined, covering the historical period from the 1760s to the 1860s: the Chemical Revolution (through which water first became recognized as a compound, not an element), early electrochemistry (by which water’s compound nature was confirmed), and early atomic chemistry (in which water started out as HO and became H2O). In each case, the author concludes that the empirical evidence available at the time was not decisive in settling the central debates and therefore the consensus that was reached was unjustified or at least premature. This leads to a significant re-examination of the realism question in the philosophy of science and a unique new advocacy for pluralism in science. Each chapter contains three layers, allowing readers to follow various parts of the book at their chosen level of depth and detail. The second major study in "complementary science", this book offers a rare combination of philosophy, history and science in a bid to improve scientific knowledge through history and philosophy of science.
This book offers a comprehensive and detailed guide to accomplishing and perfecting a photorealistic look in digital content across visual effects, architectural and product visualization, and games. Emmy award-winning VFX supervisor Eran Dinur offers readers a deeper understanding of the complex interplay of light, surfaces, atmospherics, and optical effects, and then discusses techniques to achieve this complexity in the digital realm, covering both 3D and 2D methodologies. In addition, the book features artwork, case studies, and interviews with leading artists in the fields of VFX, visualization, and games. Exploring color, integration, light and surface behaviour, atmospherics, shading, texturing, physically-based rendering, procedural modelling, compositing, matte painting, lens/camera effects, and much more, Dinur offers a compelling, elegant guide to achieving photorealism in digital media and creating imagery that is seamless from real footage. Its broad perspective makes this detailed guide suitable for VFX, visualization and game artists and students, as well as directors, architects, designers, and anyone who strives to achieve convincing, believable visuals in digital media.
America today faces a world more complicated than ever before, but our politicians have failed to envision a foreign policy that addresses our greatest threats. Ethical Realism shows how the United States can successfully combine genuine morality with tough and practical common sense. By outlining core principles and a set of concrete proposals for tackling the terrorist threat and contend with Iran, Russia, the Middle East, and China, Anatol Lieven and John Hulsman show us how to strengthen our security, pursue our national interests, and restore American leadership in the world.
Ilkka Niiniluoto comes to the rescue of scientific realism, showing that reports of its death have been greatly exaggerated. Philosophical realism holds that the aim of a particular discourse is to make true statements about its subject-matter. Niiniluoto surveys the different varieties of realism in ontology, semantics, epistemology, theory construction, and methodology. He then sets out his own original version, and defends it against competing theories in the philosophy of science. Niiniluoto's critical scientific realism is founded upon the notion of truth as correspondence between language and reality, and characterizes scientific progress in terms of increasing truthlikeness. This makes it possible not only to take seriously, but also to make precise, the troublesome idea that scientific theories typically are false but nevertheless close to the truth.
What makes a story a story? What is style? What’s the connection between realism and real life? These are some of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation. Ranging widely—from Homer to David Foster Wallace, from What Maisie Knew to Make Way for Ducklings—Wood takes the reader through the basic elements of the art, step by step. The result is nothing less than a philosophy of the novel—plainspoken, funny, blunt—in the traditions of E. M. Forster’s Aspects of the Novel and Strunk and White’s The Elements of Style. It sums up two decades of insight with wit and concision. It will change the way you read.
The realist theory of international relations is based on a particularly gloomy set of assumptions about universal human motives. Believing people to be essentially asocial, selfish, and untrustworthy, realism counsels a politics of distrust and competition in the international arena. What Moves Man subjects realism to a broad and deep critique. Freyberg-Inan argues, first, that realist psychology is incomplete and suffers from a pessimistic bias. Second, she explains how this bias systematically undermines both realist scholarship and efforts to promote international cooperation and peace. Third, she argues that realism's bias has a tendency to function as a self-fulfilling prophecy: it nurtures and promotes the very behaviors it assumes predominate human nature. Freyberg-Inan concludes by suggesting how a broader and more complex view of human motivation would deliver more complete explanations of international behavior, reduce the risk of bias, and better promote practical progress in the conduct of international affairs.