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.

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.

"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.

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.

This comparative, interdisciplinary study investigates the relationship between literature and the visual arts in France and Britain from 1750-1900. Through a close examination of the prose writings of Diderot, Baudelaire and Ruskin, read against the background of contemporary philosophy, aesthetics and theories of language, In the Mind's Eye proposes a new interpretation of the influence and rivalries underlying the development of art criticism as a genre during this period. The visual impulse - the desire to transcend the limitations of language and make the reader see - is located within the historical traditions of ekphrasis, enargeia and the paragone, while in each chapter, the individual author's theories of the mind, memory and imagination provide a critical framework for his stylistic experiments. In the Mind's Eye presents an in-depth analysis of the cultural, theoretical and aesthetic implications of artistic border crossings, and by contextualizing the movement toward visual/verbal hybridity in the fiction and criticism of Diderot, Baudelaire and Ruskin, brings new perspectives to nineteenth-century studies in art and literature.