This slim volume was the first presentation of Clarke’s theory. A limited number of paperbacks are still available. Published in June 2008, An Oultine was produced to offer people who study and work in related fields an overview of the fundamentals of Pattern Recognition Theory and its implications for understanding the role of humour in human cognitive development. Its publication generated worldwide media coverage and discussion.

This collection of essays delves into some of the strangest and most profound aspects of the psychedelic experience, such as seeing the self as an illusion, feelings of deep insight, the sublime (fear mixed with wonder), encounters with DMT entities, déjà vu, and existential joy. Drawing on research and theories from a variety of disciplines, Sam Woolfe reflects on the ways that altered states may inform our understanding of consciousness, the self, and reality. Particular attention is paid to the philosophy of psychedelics, with the aim of clarifying altered states through the lenses of metaphysics, philosophy of mind, epistemology, aesthetics, existentialism, and Buddhism. In these essays, Woolfe balances open-mindedness with a critical and sceptical perspective - he believes that this approach is necessary when examining psychedelic consciousness.

(Applause Books). Funny: The Book is an entertaining look at the art of comedy, from its historical roots to the latest scientific findings, with diversions into the worlds of movies (Buster Keaton and the Marx Brothers), television ( The Office ), prose (Woody Allen, Robert Benchley), theater ( The Front Page ), jokes and stand-up comedy (Richard Pryor, Steve Martin), as well as personal reminiscences from the author's experiences on such TV programs as Mork and Mindy . With allusions to the not-always-funny Carl Jung, George Orwell, and Arthur Koestler, Funny: The Book explores the evolution, theories, principles, and practice of comedy, as well as the psychological, philosophical, and even theological underpinnings of humor, coming to the conclusion that (Spoiler Alert!) Comedy is God.

Place, Setting, Perspective examines the films of the Italian filmmaker, Nanni Moretti, from a fresh viewpoint, employing the increasingly significant research area of space within a filmic text. The book is conceived with the awareness that space cannot be studied only in aesthetic or narrative terms: social, political, and cultural aspects of narrated spaces are equally important if a thorough appraisal is to be achieved of an oeuvre such as Moretti’s, which is profoundly associated with socio-political commentary and analysis. After an exploration of various existing frameworks of narrative space in film, the book offers a particular definition of the term based on the notions of Place, Setting, and Perspective. Place relates to the physical aspect of narrative space and specifically involves cityscapes, landscapes, interiors, and exteriors in the real world. Setting concerns genre characteristics of narrative space, notably its differentiated use in melodrama, detective stories, fantasy narratives, and gender based scenarios. Perspective encompasses the point of view taken optically by the camera which supports the standpoint of Moretti’s personal philosophy expressed through the aesthetic aspects which he employs to create narrative space. The study is based on a close textual analysis of Moretti’s eleven major feature films to date, using the formal film language of mise-en-scène, cinematography, editing, and sound. The aim is to show how Moretti selects, organizes, constructs, assembles, and manipulates the many elements of narrative space into an entire work of art, to enable meanings and pleasures for the spectator.

The definitive text on the pattern recognition theory of humour. When our species turns inward to analyze itself, the two facets of ingenuity and humour are often held in high regard as examples of its unique abilities, and this theory suggests they are more closely connected than has previously been imagined or acknowledged. While adaptability is a necessary facet of biological evolution, its expression in human beings has become accelerated into an intellectual capacity for inventing non-genetic solutions to environmental challenges, producing a versatility and ingenuity that have come to define the species. How does this ability function, then, and what has led to its unparalleled exaggeration in the human race? According to pattern recognition theory, this abundant resourcefulness has arisen due to the presence of a simple, hardwired faculty that exists precisely to encourage it, operating via the recognition of interesting patterns. This, suggests the author, is known as humour. One of two contrasting theories of humour by Clarke, The Faculty of Adaptability interprets amusement as a creative, adaptive system encouraging the invention and discovery of new information and original ideas. Following a detailed description of a schematic model via which such a system could exist, the book proceeds to suggest a timeframe for the evolution of the faculty before addressing the basis for over 100 common stimuli to humour.

Sociologists Émile Durkheim, Erving Goffman and Randall Collins broadly suppose that ritual is foundational for social life. By contrast, this book argues that ritual is merely surface, beneath which lie status and power, the behavioral dimensions that drive all social interaction. Status, Power and Ritual Interaction identifies status and power as the twin forces that structure social relations, determine emotions and link individuals to the reference groups that deliver culture and administer preferences, actions, beliefs and ideas. An especially important contention is that allegiance to ideas, even those as fundamental as the belief that 1 + 1 = 2, is primarily faithfulness to the reference groups that foster the ideas and not to the ideas themselves. This triggers the counter-intuitive deduction that the self, a concept many sociologists, social psychologists and therapists prize so highly, is feckless and irrelevant. Status-power theory leads also to derivations about motivation, play, humor, sacred symbols, social bonding, creative thought, love and sex and other social involvements now either obscure or misunderstood. Engaging with Durkheim (on collective effervescence), Goffman (on ritual-cum-public order) and Collins (on interaction ritual), this book is richly illustrated with instances of how to examine many central questions about society and social interaction from the status-power perspective. It speaks not only to sociologists, but also to anthropologists, behavioral economists and social and clinical psychologists - to all disciplines that examine or treat of social life.

This book draws on the work of anthropologist Alfred Gell to reinstate the importance of the object in art and society. Rather than presenting art as a passive recipient of the artist's intention and the audience's critique, the authors consider it in the social environment of its production and reception. A Return to the Object introduces the historical and theoretical framework out of which an anthropology of art has emerged, and examines the conditions under which it has renewed interest. It also explores what art 'does' as a social and cultural phenomenon, and how it can impact alternative ways of organising and managing knowledge. Making use of ethnography, museological practice, the intellectual history of the arts and sciences, material culture studies and intangible heritage, the authors present a case for the re-orientation of current conversations surrounding the anthropology of art and social theory. This text will be of key interest to students and scholars in the social and historical sciences, arts and humanities, and cognitive sciences.