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Appearance and Reality: An Introduction to the Philosophy of Physics addresses quantum mechanics and relativity and their philosophical implications, focusing on whether these theories of modern physics can help us know nature as it really is, or only as it appears to us. The author clearly explains the foundational concepts and principles of both quantum mechanics and relativity and then uses them to argue that we can know more than mere appearances, and that we can know to some extent the way things really are. He argues that modern physics gives us reason to believe that we can know some things about the objective, real world, but he also acknowledges that we cannot know everything, which results in a position he calls "realistic realism." This book is not a survey of possible philosophical interpretations of modern physics, nor does it leap from a caricature of the physics to some wildly alarming metaphysics. Instead, it is careful with the physics and true to the evidence in arriving at its own realistic conclusions. It presents the physics without mathematics, and makes extensive use of diagrams and analogies to explain important ideas. Engaging and accessible, Appearance and Reality serves as an ideal introduction for anyone interested in the intersection of philosophy and physics, including students in philosophy of physics and philosophy of science courses.
Philosophers have long distinguished between appearance and reality, and the opposition between a supposedly deceptive surface and a more profound truth is deeply rooted in Western culture. At a time of obsession with self-representation, when politics is enmeshed with spectacle and social and economic forces are intensely aestheticized, philosophy remains moored in traditional dichotomies: being versus appearing, interiority versus exteriority, authenticity versus alienation. Might there be more to appearance than meets the eye? In this strikingly original book, Barbara Carnevali offers a philosophical examination of the roles that appearances play in social life. While Western metaphysics and morals have predominantly disdained appearances and expelled them from their domain, Carnevali invites us to look at society, ancient to contemporary, as an aesthetic phenomenon. The ways in which we appear in public and the impressions we make in terms of images, sounds, smells, and sensations are discerned by other people’s senses and assessed according to their taste; this helps shape our ways of being and the world around us. Carnevali shows that an understanding of appearances is necessary to grasp the dynamics of interaction, recognition, and power in which we live—and to avoid being dominated by them. Anchored in philosophy and traversing sociology, art history, literature, and popular culture, Social Appearances develops new theoretical and conceptual tools for today’s most urgent critical tasks.
A contemporary perspective on the problem of design and the visual arts, this book investigates the visual experience through four key disciplines: art, craft/technology, design, and science. It discusses visual fundamentals such as line, form, colour, and composition, as well as social issues such as environmental responsibility, non-Western art history, gender, locality, and cultural diversity -- all of which have an impact on current creative processes. This broad viewpoint shows how artists can create meaningful work that has cultural integrity.
As the horror subgenre du jour, found footage horror's amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror's dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube's popular rise in sparking the subgenre's recent renaissance.
The history of western metaphysi from Plato onwards is dominated by the dualism of being and appearance. What something really is (its true being) is believed to be hidden behind the 'mere appearances' through which it manifests. Twentieth-century European thinkers radically overturned this foundation. With Martin Heidegger and Hans-Georg Gadamer came a major step towards taking appearance seriously, exploring a way of seeing that draws attention back 'upstream', from what is experienced into the act of experiencing. Understood in this way, perception is a dynamic event, a 'phenomenon', in which the observer participates. Henri Bortoft guides us through this dynamic way of seeing in various areas of experience -- in distinguishing things, the finding of meaning, and the relationship between thought and words. He also explores similarities with Goethe's reflections on the coming-into-being of the living plant. Here, in another reversal of classical thinking, we find that even in their 'diversity of appeareances', living things are not separate but in relation. Diversity is the dynamic unity of life itself. Expanding the scope of his previous book, The Wholeness of Nature, the author shows how Goethean insights combine with the dynamic way of seeing in continental philosophy to offer us an actively experienced 'life of meaning'. This book will be of interest to anyone who wants to understand the contribution and wider implications of modern European thought in the world today.
Winner, Body and Embodiment Award presented by the American Sociological Association Imagine yourself without a face--the task seems impossible. The face is a core feature of our physical identity. Our face is how others identify us and how we think of our 'self'. Yet, human faces are also functionally essential as mechanisms for communication and as a means of eating, breathing, and seeing. For these reasons, facial disfigurement can endanger our fundamental notions of self and identity or even be life threatening, at worse. Precisely because it is so difficult to conceal our faces, the disfigured face compromises appearance, status, and, perhaps, our very way of being in the world. In Saving Face, sociologist Heather Laine Talley examines the cultural meaning and social significance of interventions aimed at repairing faces defined as disfigured. Using ethnography, participant-observation, content analysis, interviews, and autoethnography, Talley explores four sites in which a range of faces are "repaired:" face transplantation, facial feminization surgery, the reality show Extreme Makeover, and the international charitable organization Operation Smile,. Throughout, she considers how efforts focused on repair sometimes intensify the stigma associated with disfigurement. Drawing upon experiences volunteering at a camp for children with severe burns, Talley also considers alternative interventions and everyday practices that both challenge stigma and help those seen as disfigured negotiate outsider status. Talley delves into the promise and limits of facial surgery, continually examining how we might understand appearance as a facet of privilege and a dimension of inequality. Ultimately, she argues that facial work is not simply a conglomeration of reconstructive techniques aimed at the human face, but rather, that appearance interventions are increasingly treated as lifesaving work. Especially at a time when aesthetic technologies carrying greater risk are emerging and when discrimination based on appearance is rampant, this important book challenges us to think critically about how we see the human face.