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Genuine art has the power to awaken and liberate. The renowned meditation master and artist Chögyam Trungpa called this type of art "dharma art"—any creative work that springs from an awakened state of mind, characterized by directness, unselfconsciousness, and nonaggression. Dharma art provides a vehicle to appreciate the nature of things as they are and express it without any struggle or desire to achieve. A work of dharma art brings out the goodness and dignity of the situation it reflects—dignity that comes from the artist’s interest in the details of life and sense of appreciation for experience. Trungpa shows how the principles of dharma art extend to everyday life: any activity can provide an opportunity to relax and open our senses to the phenomenal world. An expanded edition of Trungpa's Dharma Art (1996), this book includes a new introduction and essay.
"Dharma art" refers to the creative works that spring from the meditative state of directness, unselfconsciousness and nonagression. This book examines Trungpa's teachings and emphasises the importance of craft, and the development of the skills and knowle
This first book of the series, contains the theory and technique on how to recognize your own presence and your connectedness to everything else, experiencing oneness, through the state of awareness. Making emphasis on how to clear the soul from any blockages, emotions or other filters that may affect that experience of recognizing the true self.
An autobiographical narrative of an African-American veteran who served in Operation Desert Shield/Desert Storm and who then went on to overcome personal problems.
This book provides a comprehensive account of the intentionality of perceptual experience. With special emphasis on vision Searle explains how the raw phenomenology of perception sets the content and the conditions of satisfaction of experience. The central question concerns the relation between the subjective conscious perceptual field and the objective perceptual field. Everything in the objective field is either perceived or can be perceived. Nothing in the subjective field is perceived nor can be perceived precisely because the events in the subjective field consist of the perceivings, whether veridical or not, of the events in the objective field. Searle begins by criticizing the classical theories of perception and identifies a single fallacy, what he calls the Bad Argument, as the source of nearly all of the confusions in the history of the philosophy of perception. He next justifies the claim that perceptual experiences have presentational intentionality and shows how this justifies the direct realism of his account. In the central theoretical chapters, he shows how it is possible that the raw phenomenology must necessarily determine certain form of intentionality. Searle introduces, in detail, the distinction between different levels of perception from the basic level to the higher levels and shows the internal relation between the features of the experience and the states of affairs presented by the experience. The account applies not just to language possessing human beings but to infants and conscious animals. He also discusses how the account relates to certain traditional puzzles about spectrum inversion, color and size constancy and the brain-in-the-vat thought experiments. In the final chapters he explains and refutes Disjunctivist theories of perception, explains the role of unconscious perception, and concludes by discussing traditional problems of perception such as skepticism.
A world-renowned expert in lucid dreaming and Tibetan dream yoga guides us into the tradition’s daytime practices, a complement to the nighttime practices taught in his previous book Dream Yoga. Most of us are absolutely certain that we’re awake here and now—it’s a given, right? Yet, according to Tibet’s dream yoga tradition, ordinary waking life is no more real than the illusions of our nightly dreams. In his previous book Dream Yoga, Andrew Holecek guided us into Tibetan Buddhism’s nocturnal path of lucid dreaming and other dimensions of sleeping consciousness. Now, with Dreams of Light, he offers us an in-depth, step-by-step guide to its daytime practices. Known as the “illusory form” practices, these teachings include insights, meditations, and actions to help us realize the dreamlike nature of our lives. Through an immersive exploration of the tradition, beginners and seasoned practitioners alike will learn everything they need to deeply transform both their sleeping and waking hours. “If you’ve struggled to awaken in your dreams,” teaches Holecek, “these techniques will often spark spontaneous lucidity during sleep. And if you’re already a successful lucid dreamer, they will open you to new depths of experience throughout your day.” For those wishing to explore Tibetan Buddhism’s profound path for awakening to the true nature of reality—day or night—Dreams of Light shows us the way.
An argument that there are perceptual mechanisms that retrieve information in cognitively and conceptually unmediated ways and that this sheds light on various philosophical issues. In Cognition and Perception, Athanassios Raftopoulos discusses the cognitive penetrability of perception and claims that there is a part of visual processes (which he calls “perception”) that results in representational states with nonconceptual content; that is, a part that retrieves information from visual scenes in conceptually unmediated, “bottom-up,” theory-neutral ways. Raftopoulos applies this insight to problems in philosophy of science, philosophy of mind, and epistemology, and examines how we access the external world through our perception as well as what we can know of that world. To show that there is a theory-neutral part of existence, Raftopoulos turns to cognitive science and argues that there is substantial scientific evidence. He then claims that perception induces representational states with nonconceptual content and examines the nature of the nonconceptual content. The nonconceptual information retrieved, he argues, does not allow the identification or recognition of an object but only its individuation as a discrete persistent object with certain spatiotemporal properties and other features. Object individuation, however, suffices to determine the referents of perceptual demonstratives. Raftopoulos defends his account in the context of current discussions on the issue of the theory-ladenness of perception (namely the Fodor-Churchland debate), and then discusses the repercussions of his thesis for problems in the philosophy of science. Finally, Raftopoulos claims that there is a minimal form of realism that is defensible. This minimal realism holds that objects, their spatiotemporal properties, and such features as shape, orientation, and motion are real, mind-independent properties in the world.
Since its original publication in 1976, Perception and Misperception in International Politics has become a landmark book in its field, hailed by the New York Times as "the seminal statement of principles underlying political psychology." This new edition includes an extensive preface by the author reflecting on the book's lasting impact and legacy, particularly in the application of cognitive psychology to political decision making, and brings that analysis up to date by discussing the relevant psychological research over the past forty years. Jervis describes the process of perception (for example, how decision makers learn from history) and then explores common forms of misperception (such as overestimating one's influence). He then tests his ideas through a number of important events in international relations from nineteenth- and twentieth-century European history. Perception and Misperception in International Politics is essential for understanding international relations today.