The eminent philosopher Keith Lehrer offers an original and distinctively personal view of central aspects of the human condition, such as reason, knowledge, wisdom, autonomy, love, consensus, and consciousness. He argues that what is uniquely human is our capacity for evaluating our own mental states (such as beliefs and desires), and suggests that we have a system for such evaluation which allows the resolution of personal and interpersonal conflict. The keystone in this system is self-trust, on which reason, knowledge, and (...) wisdom are grounded. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Thomas Reid was a philosopher who founded the Scottish school of 'common sense'. Much of Reid's work is a critique of his contemporary, David Hume, whose empiricism he rejects. In this work, written after Reid's appointment to a professorship at the university of Glasgow, and published in 1785, he turns his attention to ideas about perception, memory, conception, abstraction, judgement, reasoning and taste. He examines the work of his predecessors and contemporaries, arguing that 'when we find philosophers maintaining that there (...) is no heat in the fire, nor colour in the rainbow … we may be apt to think the whole to be only a dream of fanciful men, who have entangled themselves in cobwebs spun out of their own brain'. Written by one of the Scottish Enlightenment's most important thinkers, this work brings to life the intellectual debates of the time. (shrink)

A collection of some of Sellars' lectures and articles from 1951 to 1962.

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.