"Contemporary painting, sculpture, photography, and mixed media have sources in the works of such radicals as Monet, Kandinsky, and Cornell, who are now part of the official tradition but who continue to catalyze artistic innovation, especially among conceptual and abstract artists"--Provided by publisher.

Why does the world look to us as it does? Generally speaking, this question has received two types of answers in the cognitive sciences in the past fifty or so years. According to the first, the world looks to us the way it does because we construct it to look as it does. According to the second, the world looks as it does primarily because of how the world is. In The Innocent Eye, Nico Orlandi defends a position that aligns with this second, world-centered tradition, but that also respects some of the insights of constructivism. Orlandi develops an embedded understanding of visual processing according to which, while visual percepts are representational states, the states and structures that precede the production of percepts are not representations. If we study the environmental contingencies in which vision occurs, and we properly distinguish functional states and features of the visual apparatus from representational states and features, we obtain an empirically more plausible, world-centered account. Orlandi shows that this account accords well with models of vision in perceptual psychology -- such as Natural Scene Statistics and Bayesian approaches to perception -- and outlines some of the ways in which it differs from recent 'enactive' approaches to vision. The main difference is that, although the embedded account recognizes the importance of movement for perception, it does not appeal to action to uncover the richness of visual stimulation. The upshot is that constructive models of vision ascribe mental representations too liberally, ultimately misunderstanding the notion. Orlandi offers a proposal for what mental representations are that, following insights from Brentano, James and a number of contemporary cognitive scientists, appeals to the notions of de-coupleability and absence to distinguish representations from mere tracking states.

Grimshaw discusses issues of vision in anthropology, considering some key figures throughout the twentieth century.

Why does the world look to us as it does? Generally speaking, this question has received two types of answers in the cognitive sciences in the past fifty or so years. According to the first, the world looks to us the way it does because we construct it to look as it does. According to the second, the world looks as it does primarily because of how the world is. In The Innocent Eye, Nico Orlandi defends a position that aligns with this second, world-centered tradition, but that also respects some of the insights of constructivism. Orlandi develops an embedded understanding of visual processing according to which, while visual percepts are representational states, the states and structures that precede the production of percepts are not representations. If we study the environmental contingencies in which vision occurs, and we properly distinguish functional states and features of the visual apparatus from representational states and features, we obtain an empirically more plausible, world-centered account. Orlandi shows that this account accords well with models of vision in perceptual psychology -- such as Natural Scene Statistics and Bayesian approaches to perception -- and outlines some of the ways in which it differs from recent 'enactive' approaches to vision. The main difference is that, although the embedded account recognizes the importance of movement for perception, it does not appeal to action to uncover the richness of visual stimulation. The upshot is that constructive models of vision ascribe mental representations too liberally, ultimately misunderstanding the notion. Orlandi offers a proposal for what mental representations are that, following insights from Brentano, James and a number of contemporary cognitive scientists, appeals to the notions of de-coupleability and absence to distinguish representations from mere tracking states.

Carter Ross, the sometimes-dashing investigative reporter for the Newark Eagle-Examiner, is back, and reporting on the latest tragedy to befall Newark, New Jersey, a fast-moving house fire that kills two boys. With the help of the paper's newest intern, a bubbly blonde known as "Sweet Thang," Carter finds the victims' mother, Akilah Harris, who spins a tale of woe about a mortgage rate reset that forced her to work two jobs and leave her young boys without child care. Carter turns in a front-page feature, but soon discovers Akilah isn't what she seems. And neither is the fire. When Newark councilman Windy Byers is reported missing, it launches Carter into the sordid world of urban house-flipping and Jersey-style political corruption. With his usual mix of humor, compassion, and street smarts, Carter is soon calling on some of his friends—gay Cuban sidekick Tommy Hernandez, T-shirt-selling buddy Tee Jamison, and on-and-off girlfriend Tina Thompson—for help in tracking down the shadowy figure behind it all. Brad Parks's debut, Faces of the Gone, won the Shamus Award and Nero Award for Best American Mystery. Now Parks solidifies his place as one of the brightest new talents in crime fiction with this authentic, entertaining thriller, Eyes of the Innocent.

Reminiscences of the author's early youth.

On literature, feminism and race.

A definitive biography of Robert J. Flaherty, one of the most influential documentary filmmakers of the 20th century. From his early years as an explorer and prospector to his groundbreaking films such as 'Nanook of the North' and 'Man of Aran', Arthur Calder-Marshall provides a richly detailed portrait of a complex and visionary artist. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Innocent Eyes "If he's gross, I'm bailing." That's what I said to my supposed best friend when she asked me to take her place. A blind date, she said. What harm could it do? He was charming. Beautiful. God's finest creation. He wined me and dined me. Made me do things I'd never before dreamt of in the bedroom. It was perfect. Dangerous. Arousing. But Jenny didn't tell me the full story. She didn't tell me about the debt she owed. And now Quinn Cane wants his money's worth, and he's going to make me pay whatever way he can. "A debt needs to be paid."The woman who came to meet me didn't owe me money. I could tell by her innocent eyes. Still, the debt will be paid either way.She was something to play with and use as I saw fit, but something about Emily Brooks made me want to keep her. So she became my dirty girl. Pure. Innocent. Mine.Then she whispered my damned name and invaded my world, changing its reasoning.She wasn't meant to break the rules. But she rolled my dice and won. Shame. Forgiveness. Dark. Erotic. Romance. This book is intended for mature audiences. 18+ only.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.