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Ambiguity in Mind and Nature is the result of cognitive multistability, the phenomenon in which an unchanging stimulus, usually visual, gives rise in the subject to an oscillating perceptual interpretation. The vase/face picture is one of the most famous examples. In this book scientists from many disciplines including physics, biology, psychology, maths and computer science, present recent progress in this fascinating area of cognitive science. Using the phenomenon of multistability as a paradigm they seek to understand how meaning originates in the brain as a consequence of cognitive processes. New advances are achieved by applying concepts such as self-organization, chaos theory and complex systems to the latest results of psychological and neurophysical experiments.
What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to 'imagination' and 'creativity' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the 'scientific method' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem, moments of sudden insight, and the experience of the beautiful or sublime. Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spent time in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.
Examines seven types of ambiguity, providing examples of it in the writings of Shakespeare, Wordsworth, and T.S. Eliot.
Gregory Bateson was a philosopher, anthropologist, photographer, naturalist, and poet, as well as the husband and collaborator of Margaret Mead. This classic anthology of his major work includes a new Foreword by his daughter, Mary Katherine Bateson. 5 line drawings.
How a religion based on the sacredness of nature deals with the problem of evil.
Covers topics in philosophy, psychology, and scientific methods. Vols. 31- include "A Bibliography of philosophy," 1933-
With wit, charm, and brilliance, this epic work sets out to make sense of our place in the scheme of things. Surveying the spectrum of philosophical concerns from the existence of space and time to relativity and language, Frayn attempts to resolve what he calls "the oldest mystery": the world is what we make of it.
In Potential Images Dario Gamboni explores ambiguity in modern art, considering images that rely to a great degree on a projected or imaginative response from viewers to achieve their effect. Ambiguity became increasingly important in late 19th- and early 20th-century aesthetics, as is evidenced in works by such artists as Redon, Cezanne, Gauguin, Ensor and the Nabis. Similarly, the Cubists subverted traditional representational conventions, requiring their viewers to decipher images to extract their full meanings. The same device was taken up in the various experiments leading to abstraction. For example, it was Kandinsky's intention that his work could be interpreted in both figurative and non-figurative ways, and Duchamp's Readymades suggested the radical conclusion that 'it is the beholder who makes the picture'. These invitations to viewers to participate in the process of artistic communication had social and political implications, as they accorded artist and beholder symmetrical, almost interchangeable, roles.
This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to persistently ask “why is it as it is?” Notably, this account of the concept is also an account of its criticism. It recognises that a satisfying assessment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism.
Being and Ambiguity is a brilliant work of philosophy, filled with insights, jokes, and topical examples. Professor Ziporyn draws on the works of such Western thinkers as Wittgenstein, Nietzsche, Freud, Sartre, and Hegel, but develops his main argument from Tiantai school of Chinese Buddhism. This important work introduces Tiantai Buddhism to the reader and demonstrates its relevance to profound philosophical issues. Ziporyn argues that we can make both of the claims below simultaneously: This book is about everything. It contains the answers to all philosophical problems which ever shall exist. This book is all claptrap. It is completely devoid of objective validity of any kind. These claims are not contradictory. Rather, they state the same thing in two different ways. To be objective truth is to be subjective claptrap, and vise versa. All interchanges of any kind - conversations, daydreams, sensations - are not only about something but also about everything. Thus, this book concerns itself with no less than the nature of what is and what it means for something to be what it is. It provides a new approach to the basic Western philosophical and psychological issues of identity, determinacy, being, desire, boredom, addiction, love and truth.