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.

We are all subjective—it's human nature. We overreact to situations; we judge people too quickly and unfairly; we take something personally when it was not really meant that way. As a result, we lose relationships, reputation, money, and peace of mind. And in our ever-more-complex world, leaders must make decisions faster and with more conflicting information; widespread insecurity makes people territorial and risk-averse; and the consequences of every action are played out on a disproportionately large stage. Imagine how much more prepared Mitt Romney could have been for his landslide loss on election night, if his advisors had acknowledged the facts staring them in the face. To succeed, we must consciously seek to increase our objectivity—seeing and accepting things as they are without projecting our mental models, fears, background, and personal experiences onto them. This way, we not only avoid costly cognitive errors, but open ourselves to engage new cultures, new markets, and new opportunities. In The Objective Leader, Thornton draws on her original research, as well as her years of experience as a manager and entrepreneur, to offer proven strategies for identifying limiting and unproductive ways of thinking and creating powerful new mental models that ensure continued success.

In early-twentieth-century New York, a young boy enjoys a happy, ordinary childhood. Then, one by one, Richard sees his childhood securities crumble before the pitiless facts of a fallen world: the wanton cruelty of other children, the inconstancy of the "grown-ups" and inscrutability of their world, the overwhelming otherness of God, and the seemingly indomitable capacity in himself for sin. Things As They Are draws its thematic power from Richard's reflection that "children are artists who see and enact through simplicity what their elders have lost through experience. The loss of innocence is a lifelong process-the wages of original sin." As each pivotal event manifests, Richard must meet it with courage as much as faith, hope, and love, in order to safeguard his dignity and reach that maturity of stature for which he longs. Told with a rare lyrical power and an unaffected poignancy, Things As They Are achieves a unity of robust realism and profound spiritual acuity which makes it clearly deserving of its place "among the most beautiful and moving American novels" (David McCullough).

How we see and how we visualize: why the scientific account differs from our experience.

From the former director of the Museum of Arts and Design in New York, a timely and passionate case for the role of the well-designed object in the digital age. Curator and scholar Glenn Adamson opens Fewer, Better Things by contrasting his beloved childhood teddy bear to the smartphones and digital tablets children have today. He laments that many children and adults are losing touch with the material objects that have nurtured human development for thousands of years. The objects are still here, but we seem to care less and know less about them. In his presentations to groups, he often asks an audience member what he or she knows about the chair the person is sitting in. Few people know much more than whether it's made of wood, plastic, or metal. If we know little about how things are made, it's hard to remain connected to the world around us. Fewer, Better Things explores the history of craft in its many forms, explaining how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items. Whether describing the implements used in a traditional Japanese tea ceremony, the use of woodworking tools, or the use of new fabrication technologies, Adamson writes expertly and lovingly about the aesthetics of objects, and the care and attention that goes into producing them. Reading this wise and elegant book is a truly transformative experience.

The jovial journalist, philosopher, and theologian G.K. Chesterton felt that the world was almost always in permanent danger of being misjudged or even overlooked, and so the pursuit of understanding, insight, and awareness was his perpetual preoccupation. Being sensitive to the boundaries and possibilities of perception, he believed that it really was possible, albeit in a limited way, to see things as they are. Duncan Reyburn, marrying Chesterton's unique perspective with the discipline of philosophical hermeneutics, aims to outline what Chesterton can teach us about reading, interpreting, and participating in the drama of meaning as it unfolds before us in words and in the world. Chesterton's unique interpretive approach seems to be theimplicit fascination of all Chesterton scholarship to date, and yet this book is the first to comprehensively focus on the issue. By taking Chesterton back to his philosophical roots - via his marginalia, his approach to literary criticism, his Platonist-Thomist metaphysics, and his Roman Catholic theology - Reyburn explicitly and compellingly tackles the philosophical assumptions and goals that underpin his unique posture towards reality.