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This publication is the catalogue for A Fact Has No Appearance: Art Beyond the Object which makes a nuanced exploration of the impact of new ideas on art in Southeast Asia during the 1970s through the case studies of three artists: Johnny Manahan (Philippines), Redza Piyadasa (Malaysia), and Tan Teng-Kee (Malaysia/Singapore), all of whom have been recognized for breaking new ground in Southeast Asia modern art. It features essays on each artist by the curators, as well as a rich images of the artists' works, installation views and biographical information.
Phenomenal Conservatism (the view that an appearance that things are a particular way gives one prima facie justification for believing that they are that way) is a promising, and popular, internalist theory of epistemic justification. Despite its popularity, it faces numerous objections and challenges. For instance, epistemologists have argued that Phenomenal Conservatism is incompatible with Bayesianism, is afflicted by bootstrapping and cognitive penetration problems, does not guarantee that epistemic justification is a stable property, does not provide an account of defeat, and is not a complete theory of epistemic justification. This book shows that Phenomenal Conservatism is immune to some of these problems, but not all. Accordingly, it explores the prospects of integrating Phenomenal Conservatism with Explanationism (the view that epistemic justification is a matter of explanatory relations between one's evidence and propositions supported by that evidence). The resulting theory, Phenomenal Explanationism, has advantages over Phenomenal Conservatism and Explanationism taken on their own. Phenomenal Explanationism is a highly unified, comprehensive internalist theory of epistemic justification that delivers on the promises of Phenomenal Conservatism while avoiding its pitfalls.
First published in 2002. This is the revised second edition of a volume of an essay on metaphysics, originally published in 1897.
Contextualism, the view that the epistemic standards a subject must meet in order for a claim attributing "knowledge" to her to be true do vary with context, has been hotly debated in epistemology and philosophy of language during the last few decades. This volume presents, develops, and defends contextualist solutions to two of the stickiest problems in epistemology: the puzzles of skeptical hypotheses and of lotteries. It is argued that, at least by ordinary standards for knowledge, we do know that skeptical hypotheses are false, and that we've lost the lottery. Why it seems that we don't know that they're false tells us a lot, both about what knowledge is and how knowledge attributions work. The Appearance of Ignorance is the companion volume to Keith DeRose's 2009 title The Case for Contextualism: Knowledge, Skepticism, and Context, Volume 1.
In Appearance in Reality, John Heil addresses a question at the heart of metaphysics: how are the appearances related to reality, how does what we find in the sciences comport with what we encounter in everyday experience and in the laboratory? Objects, for instance, appear to be colourful, noisy, self-contained, and massively interactive. Physics tells us they are dynamic swarms of colourless particles, or disturbances in fields, or something equally strange. Is what we experience illusory, present only in our minds? But then what are minds? Do minds elude physics? Or are the physicist's depictions mere constructs with no claim to reality? Perhaps reality is hierarchical: physics encompasses the fundamental things, the less than fundamental things are dependent on, but distinct from these. Heil's investigation advances a fourth possibility: the scientific image (what we have in physics) affords our best guide to the nature of what the appearances are appearances of.
This essay was originally written for the Literary Society with the intention of proving that ghosts do indeed exist and that they are natural rather than preternatural in origin. The author bases his theory upon cases which he claims were all capable of being authenticated by contemporary members of the Literary Society. Contents include: "Universal Belief in Ghosts-Addison; his Opinions-Luther; his Ideas of Madmen, and of Idiots", "Statement of Facts upon which the Hypothesis is meant to be founded-Cases-Treatment and Cure", "Hallucination distinguished from Partial Insanity, from Delirium, from Somnambulism, from Reverie-Mahomet-Jacob Behmen, and other Visionaries", etc. Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this volume now in an affordable, high-quality edition designed for a modern audience. This book was first published in 1810.
Some of the loveliest works of Archaic art were the Athenian korai—sculptures of beautiful young women presenting offerings to the goddess Athena that stood on the Acropolis. Sculpted in the sixth and early fifth centuries B.C., they served as votives until Persians sacked the citadel in 480/79 B.C. Subsequently, they were buried as a group and forgotten for nearly twenty-four centuries, until archaeologists excavated them in the 1880s. Today, they are among the treasures of the Acropolis Museum. Mary Stieber takes a fresh look at the Attic korai in this book. Challenging the longstanding view that the sculptures are generic female images, she persuasively argues that they are instead highly individualized, mimetically realistic representations of Archaic young women, perhaps even portraits of real people. Marshalling a wide array of visual and literary evidence to support her claims, she shows that while the korai lack the naturalism that characterizes later Classical art, they display a wealth and realism of detail that makes it impossible to view them as generic, idealized images. This iconoclastic interpretation of the Attic korai adds a new dimension to our understanding of Archaic art and to the distinction between realism and naturalism in the art of all periods.