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The Fullness of Being: A New Paradigm for Existence

Barry Miller

The Fullness of Being: A New Paradigm for Existence Barry Miller Amazon Price: $29.95
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By: University of Notre Dame Press
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Editorial Review:

According to a fairly standard view, there are several reasons for denying that existence is a real property of individuals. One is that 'exists' cannot be predicated of individuals, and another is that first-level properties are parasitic on individuals for their actuality, which is something that existence could never be. A third is that existence adds nothing to individuals. Moreover, even if existence were to survive all three counter-indications, it would be merely the most vacuous of properties. The Fullness of Being, however, argues that this view of existence is seriously awry. In this brilliant book, Barry Miller argues that existence is not merely a real property of individuals, but by far the richest of their properties. The commonly accepted view of existence is testimony, contends Miller, to what happens when wrong questions are asked, false assumptions are made, and the possibility of a new paradigm for existence is dismissed without consideration. They bear witness to the substantial flaws underlying the familiar claim 'existence is not a predicate' and the Frege-Russell-Quine view not only of 'exists' as exclusively a second-level predicate, but of existence as no more than a Cambridge property of individuals. By way of contrast, The Fullness of Being is an account of what happens when different questions are asked, when false assumptions are eschewed, and when the possibility of a radically different paradigm for existence is actively explored rather than completely ignored. What began for Miller as an exercise in philosophical logic to determine whether 'exists' is predicable of individuals, ends in an argument with groundbreaking consequences for ontology.

Æsthetic: As Science of Expression and General Linguistic

Benedetto Croce

Æsthetic: As Science of Expression and General Linguistic Benedetto Croce Amazon Price: $24.23
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Customer Reviews:
Total reviews: 2 Average rating: 5.0 of 5

The ultimate Aesthetics resource and primer 5 out of 5 stars.
9 of 9 people found this review helpful.

If you are interested in aesthetics, this is an essential. I am doing research on the German Enlightenment, and only Croce offers a detailed discourse on thinkers whose importance only matches their obscurity. The first half of this book presents Croce's own aesthetic theory: an atheistic theory with a Hegelian twist (he wrote what is living and what is dead of Hegel) that is spiritual without being religious. The second half of the book is the real gem. This is a detailed history of aesthetics, in all its obscurantist glory! Do not deny yourself a book that is both an illuminating introduction to aesthetics via its history, a penetrating theory of aesthetics, and a great reference book for an aesthetician. The man who coined the term aesthetics, Alexander Baumgarten, is developed in this book ... one of the few books that goes beyond mentioning his name and importance.

Brilliant! 5 out of 5 stars.
2 of 2 people found this review helpful.

For Croce, there are two kinds of knowledge: logical knowledge, intuitive knowledge. What Croce did at the beginning of the 20th century was posing Aesthetics as the science of "intuitive knowledge". Aesthetics is the logic of intuitive knowledge, as logic is the building blocks of logical knowledge, which can briefly be described as science and mathematics. Furthermore, he claims that intution and expression is the same thing and beauty is successful expression or just expression "since unsuccessful expression is not an expression".

The treatise in the first part is so simple, yet so deep. It's lucid and brilliant. There are no references in this part. The second part deals with the history of aesthetics and this is I think a much better reference for an aesthetic reader. Croce, does not only cite the references from antique Greek to Post-Kantians and German Idealists; he makes ingenious comments on them, which is quite thought provoking.

Seven Theories of Human Nature

Leslie Stevenson

Seven Theories of Human Nature Leslie Stevenson List Price: $27.50
By: Oxford University Press, USA
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Total reviews: 4 Average rating: 4.0 of 5

Editorial Review:

With over a quarter of a million copies sold, Seven Theories of Human Nature has established itself as the classic introduction to Western intellectual theory. Ranging from Plato's Republic to Edward O. Wilson's On Human Nature, and drawing on philosophy, psychology, sociology, politics, biology, and theology, this admirably lucid volume compresses into a small space the essence of such thinkers as Karl Marx, Sigmund Freud, Jean-Paul Sartre, B.F. Skinner, and Konrad Lorenz.
Stevenson juxtaposes the ideas of these and other thinkers in a way that helps us to understand how humanity has struggled to comprehend its nature. We see how Freud's theory of subconscious motivation is directly attacked by Sartre's claim that there are no subconscious acts at all. And how Skinner's theories, which assert the primacy of learned behavior, are undercut by Lorenz's studies of animals, which suggest that complex behavior can occur prior to learning. To bring these comparisons into sharper relief, Stevenson examines each theorist on four points--his speculation on the nature of the universe, his assessment of the nature of man, how he views the ills of the world, and what he would do to change it. This structure enables Stevenson to compare Plato's theory of the philosopher-king with Skinner's idea of utopia in Walden Two and pose the same questions to both: Who decides what is best for everyone else? And how can the misuse of power be prevented? Along the way, we are treated to fascinating analyses of some of the most pivotal and controversial books ever written, including Marx's Das Capital, Sartre's Being and Nothingness, Plato's Republic, and Konrad Lorenz's On Agression.
The revised edition of Seven Theories of Human Nature is more relevant than ever. For the new volume, Stevenson has added an extended discussion of sociobiology, and cites recent books for further reading on such topics as Creationism, nuclear holocaust, and feminism. Brought completely up to date, this classic introduction will fascinate anyone curious about who we are, what motivates us, and how we can understand and improve the world.

Existential Psychoanalysis

Jean-Paul Sartre

Existential Psychoanalysis Jean-Paul Sartre List Price: $10.95
By: Regnery Publishing, Inc.
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Customer Reviews:
Total reviews: 2 Average rating: 4.5 of 5

Excellent Book 5 out of 5 stars.
7 of 8 people found this review helpful.

I read this book in one sitting and found it to be very informative. In outlining the basis for an existentialist psychoanalysis, Sartre gives interesting and riveting existential perspectives on the human situation. I would recommend anyone with an interest in philosophy, psychology, and the human situation in general to give this book a try.

Speculative? System-building? Abstract? Gut-wrenching! 4 out of 5 stars.
2 of 3 people found this review helpful.

This work consists of 2 excerpts from Satre's "Being and Nothingness". What's new is a 17 page introduction by Rollo May. Although May admires Sartre, he does present key differences he has with Sartre, so this intro has some teeth in it. Even as excerpts, there's about 200 pages of meaty exposition that saves you lugging around "Being And Nothingness" if this subset is your focus.

Sartre builds up a big, abstract, speculative system, apparently as a framework for his belief in human freedom, choice, and responsibility. What does this construction accomplish that simple assertions wouldn't of our freedom, our not being determined, our defining ourself via our yet-to-be-accomplished projects, our responsibility rooted in our unavoidable need to make choices? Perhaps both emphasis (you'll be less likely to forget you are free), elaboration (you'll learn more what being free as well as trying not to be implies), and examples (you'll learn more of the ways in which people try to avoid the weight of their freedom).

Even if the experts tell you they have you all figured out, you'll have decide whether to buy that or not. Even if you want to be all figured out and delivered from uncertainty, they (and you) may be wrong. If Sartre only argued for our individual freedoms, he wouldn't be so important. It is in his exploration of the ways in which we cringe from our freedom, of our "bad faith", that he connects and makes what seems a speculative, abstract system instead a powerful emotional truth.

Editorial Review:

A criticism of modern psychology in general and Freud's determinism in particular.

The Crack in the Cosmic Egg: Challenging Constructs of Mind and Reality

Joseph Chilton Pearce

The Crack in the Cosmic Egg: Challenging Constructs of Mind and Reality Joseph Chilton Pearce List Price: $15.00
By: Julian Press
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Customer Reviews:
Total reviews: 5 Average rating: 4.0 of 5

Opening Your Mind to Possibilities 4 out of 5 stars.
7 of 7 people found this review helpful.

"The Crack in the Cosmic Egg" will challenge you to think about what is it? What is this thing we call reality? How is it that paradigms and how we view the world works and how is it that sometimes the seemingly miraculous occurs. Where does it come from, that which is so improbable may tomorrow be everyday knowledge.

A good book to get your feet wet, into exploring mind and reality.

The "crack" appears... 5 out of 5 stars.
6 of 8 people found this review helpful.

J.C. Pearce did a wonderful thing in writing this book. He challenges the rationality of existing within a set frame of knowledge or world view, and challenges us to look beyond the obvious for the true possibilities. I truly enjoyed this book. Not a day passes that I don't think about some aspect of what he was trying to say.

Powerful..Mindblower....Must Read 5 out of 5 stars.
4 of 6 people found this review helpful.

A book that has the potential to change one's life. Must be read slowly and with an open mind. Pearce answers the ultimate questions with precision. Goes beyond understanding...his words are absorbed like heat from the sun.

Editorial Review:

With a new preface by the author. This enormously popular New Age classic, beautifully written and intellectually challenging, has inspired and guided millions of readers to develop new, creative, inventive modes of thinking.

Realms of Being

George Santayana

Realms of Being George Santayana By: C. Scribner's sons
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Masterpiece of poetic naturalism 5 out of 5 stars.
16 of 16 people found this review helpful.

Don't let the fact that this book is out of print fool you. "Realms of Being" is one of the greatest works of philosophy ever written. It demonstrates a subtlety of argument and an interpretive vision which places Santayana head and shoulders above his better known contemporaries (e.g., Russell, Dewey, Wittgenstien). Since Plato, most of Western Philosophy has labored under the delusion that "true" knowledge is certain and demonstrable, rather than conjectural and provisional, in nature, "episteme" rather than "doxa." This view of knowledge goes hand in hand with the underlying premise of nearly all philosophy since Descartes---namely, the view that a man's own ideas, perceptions, concepts (call them what you will) are the most certain things he knows, and that knowledge, in its most profound and fundamental state, is nothing more and nothing less than the intuition of ideas.

In "Scepticism and Animal Faith," Santayana challenged & refuted the (idealist) contention that knowledge is intuition of ideas. The mere experience of an idea, Santayana argued, is without cognitive significance. It is solipsism, not knowledge. Ideas only become knowledge when they are taken for symbols representing an external, substantive reality. In "Realms of Being," Santayana develops all the important implications of this basic insight into human knowledge. In the first volume of the book, he examines the "Realm of Essence." Essences, for Santayana, are merely the mental constiuents of description, the form under which things appear to the mind. But although these essences describe or represent the qualities of things in the external world, they are not themselves external existences, but are merely signs or symbols which mediate between the mind and the world. Knowledge of reality, then, is indirect and transitive. For this reason, no idea can ever be perfectly adequate. Reality is far too rich and complex to be adequately represented in human symbolization. But for the practical purposes of living in the world---for eating, hunting, working, avoiding dangers, making love---the human mind will suffice. Nevertheless, human knowledge, because of its implacable mediacy, can never be certain. Knowledge, for Santayana, must always remain faith mediated by symbols, doxa rather than episteme.

In the second volume, "Realm of Matter," Santayana draws out some of the implications of his view that reality must be substantive, that is, it must be something and not simply our idea of something. In the third volume, the "Realm of Truth," he offers a series of very original & subtle arguments against the idea of "necessary" truth and logical facts. Facts are arbitrary, truth contingent, and logic ideal. The mind is "platonic from the beginning"; but reality itself is not platonic.

In the final volume of the book, the "Realm of Spirit," Santayana offers a sympathetic critique of several contrasting visions of the spiritual life, trying to extract from each of them their true wisdom in helping the afficted spirit make its way through its pilgrimage in life. The consequence is a naturalistic defense of spirituality. "Spirit pursues a perfection more inward and chastened than world arts and ambitions," Santayana writes; "but it would not exist or have a possible perfection to pursue, if it were not a natural faculty in a natural soul."

The Work of Art: Immanence and Transcendence

Gerard Genette

The Work of Art: Immanence and Transcendence Gerard Genette List Price: $55.00
By: Cornell University Press
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Editorial Review:

What art is--its very nature--is the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Grard Genette explores the distinction between a work of art's immanence--its physical presence--and transcendence--the experience it induces. That experience may go far beyond the object itself. Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing, or recording. Moving beyond examples, Genette proposes schemata for thinking about the different manifestations of a work of art. He also addresses the question of the artwork's duration and mutability.

Beauty Restored

Mary Mothersill

Beauty Restored Mary Mothersill List Price: $19.95
By: Adams Bannister Cox Pubs
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Customer Reviews:
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jdoc 5 out of 5 stars.
3 of 3 people found this review helpful.

A landmark in modern analytic aesthetics. Eschewing the twentienth century neglect of the concept of beauty, stemming from Wittgenstein, Austin and others, more than anyone Mothersill took issue with this. She changed the debate, and thanks to her the tide is now going the other way. But it was she who first made the big difference. It's also clearly written and well argued, though not everyone will completely agree with her. Nor should they.

Understand the philosophy of art 5 out of 5 stars.
0 of 0 people found this review helpful.

I read this book for a graduate seminar on the philosophy of art. Mary Mothersill's "Beauty Restored" is an excellent text to get a general idea of the vast field of philosophy of art. Aesthetics = philosophy of Art, thinking about art. Originally, aesthetics just meant "sense experience," and had nothing to do with art. A certain theory of art came to co-opt this word. So, much of modern philosophy of art turned more to the subject and away from the object because modern science did such to convince us that the objective world could be understood as a precise matter of mathematical physics. This idea became so impressive that people were making claims about art or ethics similar to science, that we can't make any objective claims about the world, we are simply making claims about human beliefs. So, the turn to the subject becomes common because of the success of modern science it co-opted the discussion of objective nature. We say things about art, but not all are true. The Ancient Greeks had absolute beliefs about art like "beauty."

She finds that how we engage art today is different then how the ancient Greeks did, art was embedded in a cultural context for them. Art was not in museums or in dance halls. Art is in a special zone of experience today in museums, etc. Tragedy for Greeks was part of their politics and religion, sculpture and painting the same way. Music until recently, (after the enlightenment) was for religion or some kind of official function.

Philosophy tries to come up with theories about art; it may be a fool's errand. A set of principles that define and illuminates or explains the full measure of art is probably not attainable.
However, just because a theory is wrong doesn't mean it has no value, we can draw import from all of them. She asks, can art even satisfy necessary or sufficient conditions? One will always find exceptions.

A "Necessary condition" is a condition that must be present in order to account for the subject in question, i.e., all art must have X. "Sufficient conditions" are considered to being all that is needed to be in account for the subject in question. Another word a complete sufficient condition means you have captured all that you need to account for. An example of a necessary condition and necessary conditions need not be sufficient conditions, so for instance a necessary condition for "being a bachelor is being a male," but it is not a sufficient condition because you have to have an "unmarried male" in order for it to be a sufficient condition for being a "bachelor." So both "unmarried and male" are necessary conditions, they both must be present in order to account for "bachelorhood," but neither one alone is a sufficient condition because it is not enough. So, when we are trying to define art and one finds some necessary conditions like some kind of "human intervention" that is a necessary condition, but maybe it is a sufficient condition if we want to understand or distinguish between a baseball player digging into the batters box, which is intervention and human manipulation but do we want to call making a divot in the batters box art? Anything having X is art. Relevant condition is useful for art. It is really not necessary to have necessary or sufficient condition for art. A relevant condition is like "beauty." X is significant for art, but not necessary or sufficient.

Terms for knowledge- These are hard to satisfy in the field of art. Therefore, an objective truth is something that is independent of human beliefs, interests, and desires. Subjective truth is something that is dependent on human beliefs, interests, and desires. Subjectivism-Knowledge, meaning, or truth in art is only function of individual beliefs, interests, and desires. Hermeneutics- neither independent objectivity nor independent subjectivity; a circular relation between artists, artworks, and art world (audience). All three work together.

She shows how "traditional art theories try to give necessary and sufficient conditions.

Imitation- means it copies something in the natural world. Art refers to some objective reality outside the mind and artwork. (Plato, Aristotle). Sometimes the imitation theory is also known as the "representational art theory" because the artwork represented something in the world but is not a simplistic idea of copying. The art forms that are most representational are representational sculpture, painting, and drama. The background and implications of the imitation theory first originated in ancient Greece. The imitation theory is the traditional theory that held sway with artists and philosophers up into the eighteenth century Romantic period in Europe. In order for one to fully grasp the meaning of the imitation theory, it is necessary to understand the nuanced meaning of the Greek word for imitation. The Greek word for imitation is mimçsis; thus, art is the imitation of nature for the Greeks. However, mimçsis is a very complex word with many nuanced meanings. It can also mean a representational copy. Plato uses it in speaking of painting. For example, if a Greek painter painted a bird that looked bird like, that would be a sense of mimçsis. Aristotle says art is an imitation of nature, but not just "copying" it. Aristotle does not mean that when art does what it does it reproduces a natural thing. Rather, what Aristotle means is that art impersonates the power of nature to produce something. Human art does something along the lines of what nature does which is very different. Nature produces a tree from out of its power of generation without any intervention from nature, a builder produces a house out of materials which requires the intervention of an agent; however, Aristotle sees no fundamental bright line between those two examples.

The "Expression theory" refers to something going on in the human mind. Art refers to some subjective reality of the human mind, such as ideas, feelings, and cognitive faculties. (Kant, Schopenhauer). The expression theory is the prime competitor to the imitation theory. The expression theory is a modern phenomenon that turns to the subject. This theory became prevalent with the rise of the Romanticism movement of the nineteenth century. With the expression theory--a shift takes place from the objective outer world of the imitation theory to perception of the mind the subject of the expression theory. Expression theorists expect artworks will produce certain human emotions in the audience. Thus, the expression theory has a certain power in focusing on the mind of both the creator and the audience. Expression theorists argue that the theory has a certain power in being able to articulate the communicative and educative power of the mind.

For example, the artist has an experience that the rest of us have not noticed. Then the artist tries to express this experience in the artwork, which she hopes will transmit to the audience so they can share the artist's experience. The idea in the expression theory that artworks have an educative power is central to Robin Collingwood's theory. The whole idea is that the artist is some kind of educator and the artwork becomes some kind of educational vehicle for people. Of course, art can have so much power in this regard, as in the case of Shakespearean tragedies like Macbeth. Thus, the expression theory gives artwork a new importance, especially in the medium of the written word, since it purports that artworks like literature are something we can learn from that we cannot do any other way.

Contemporary Art Theory
The "Historical artworld," Art involves an interrelated complex of artists, artwork, audience, artworld/institutions. All these work in concert with each other, and changes through history adds even more fluidity. This complex changes through history, reflecting a tension between normalcy and creativity (Nietzsche, Heidegger, Gadamer).

The features and significance of the historical artworld theory, which more properly should be termed a "notion," is that it does not "locate" art in any one of the four traditional factors of artist, artwork, audience, and artworld institutions that people have traditionally examined to define what art is. The historical artworld notion expands beyond the traditional four factors and takes into account history, and the tension between creativity and normalcy. Thus, the historical artworld notion looks at art through a more broad interpretation then the imitation and expression theories do, by adding history and the tension between creativity and normalcy as well. Thus, the historical artworld notion is better at explaining the fluid relationships between the various facets involved in art. The idea is that it uses "hermeneutics" which means "interpretations" that are in Martin Heidegger's words more "world disclosive." Therefore, the historical artworld notion tends to be less dogmatic than a theory and really seeks to serve as a guidepost for understanding art.

One of the most significant features of the historical artworld notion, unlike the imitation and expression theories, is that as Heidegger and Hans-Georg Gadamer argue, the theory of hermeneutics purports that it is impossible to approach anything independent of historical influences that have already shaped us and therefore, mold how it is we would approach anything. There are already operating influences in how we regard anything in the world, and art would be included in that. By contrast, the imitation theory is too "narrow" in its "accepted rules" of art because it only seeks to imitate objects in the world and disregard the importance of historical influence in creating artworks. One of the ways to understand this is by examining child development. Every adult has been a child, and every child has been shaped by cultural influences through all sorts of ways, education, rearing, etc. In other words, any human self will always be equipped with ways of seeing; therefore, there is no such thing as coming to see something as all by itself. Thus, when we approach a work of art, before we even engage it we are already equipped with inheritances from our tradition and our culture that come to us by way of education and other kinds of influences. No engagement with a work of art is a blank slate-- we are not a tabula rasa. For example, in the case of Greek tragedy, we would have to know what the historical circumstances were and what it was like for the work to be performed at that time. Therefore, any approach to art always carries the art history with it, because historical influences are always shaping how we begin to see anything.

I recommend this work for anyone interested in philosophy, philosophy of art.

Editorial Review:

In this book the author assesses the main trends of recent aesthetics and makes two important philosophical claims: one, that there are genuine (that is, true and demonstrable) judgments of taste, and two, that there are no principles or laws of taste. In a penetrating and insightful defense of these theses, Mothersill addresses the question of their compatibility and develops the contrast between aesthetic and ethical reasoning and between beauty and the sublime.

The Illusion of Immortality

Corliss Lamont

The Illusion of Immortality Corliss Lamont List Price: $12.95
By: Continuum Intl Pub Group (Sd)
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http://www.infidels.org/infidels/products/books/ 4 out of 5 stars.
23 of 25 people found this review helpful.

"_The Illusion of Immortality_ is the only book I know of which details the often ignored scientific evidence against life after death (though a few articles can be found on the subject), but with its first edition published in 1935, the evidence cited is a bit dated. Lamont first outlines different historical views of immortality, from the ancient Greek belief that everyone enters a faded and deteroriating existence in Hades when they die, through the early Hebrew belief that death ends with the annihilation of consciousness, to modern astral body views. Lamont should be credited for pointing out that the notion of immortality does not presuppose that an existence after death will necessarily be a worthwhile immortality--an idea often not considered those who believe in an afterlife--as the ancient Greek notion of Hades illustrates. In addition to addressing different kinds of survival of bodily death and the evidence against it, Lamont considers the problem of what an afterlife environment could possibly be like and arguments that immortality must be guaranteed by the benevolence of God. There is some confusion in Lamont's argument for a kind of reductionist materialism, for in arguing that the mind is a function of the brain, he proposes the existence of "nonphysical ideas"--so it appears that he is actually arguing that the mind is a product of the brain (epiphenomenalism) as opposed to arguing that the mind is identical to the brain (reductionist materialism). Lamont concludes by considering the motivations for belief in life after death and coping with living a finite existence. As a whole, _The Illusion of Immortality_ is a very good introduction to the some of the philosophical issues and scientific evidence against life after death."

Editorial Review:

Written with wisdom and eloquence, this 303-page book thoroughly but sensitively discusses biblical notions of death, the impact of science, the various attempts by immortalists to describe heaven, and the failure of spiritual "proofs." Corliss Lamont also argues for a new, ethical affirmation of life based upon an appreciation of our common mortality.

Ontological reduction (Indiana University humanities series, v. 72)

Reinhardt Grossmann

Ontological reduction (Indiana University humanities series, v. 72) Reinhardt Grossmann By: Indiana University Press
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