'Intellectual Entertainments' consists of eight philosophical dialogues, each with five participants, some living, some imaginary and some dead. The dialogues take place either in Elysium or in an imaginary Oxford Common Room. Each historical figure speaks in his own idiom with a distinctive turn of phrase. The imaginary figures speak in the accent and idiom of their respective countries (English, Scottish, American, Australian). The themes are the nature of the mind and the relation between mind and body; the nature of consciousness and its demystification; the nature of thought and its relation to speech; and the objectivity or subjectivity of perceptual qualities such as colour, sound, smell, taste and warmth. Each participant presents a different point of view and defends his position against the arguments of the others. No philosophical knowledge is presupposed.

An introduction to text analysis using computer-assisted interpretive practices, accompanied by example essays that illustrate the use of these computational tools. The image of the scholar as a solitary thinker dates back at least to Descartes' Discourse on Method. But scholarly practices in the humanities are changing as older forms of communal inquiry are combined with modern research methods enabled by the Internet, accessible computing, data availability, and new media. Hermeneutica introduces text analysis using computer-assisted interpretive practices. It offers theoretical chapters about text analysis, presents a set of analytical tools (called Voyant) that instantiate the theory, and provides example essays that illustrate the use of these tools. Voyant allows users to integrate interpretation into texts by creating hermeneutica—small embeddable “toys” that can be woven into essays published online or into such online writing environments as blogs or wikis. The book's companion website, Hermeneuti.ca, offers the example essays with both text and embedded interactive panels. The panels show results and allow readers to experiment with the toys themselves. The use of these analytical tools results in a hybrid essay: an interpretive work embedded with hermeneutical toys that can be explored for technique. The hermeneutica draw on and develop such common interactive analytics as word clouds and complex data journalism interactives. Embedded in scholarly texts, they create a more engaging argument. Moving between tool and text becomes another thread in a dynamic dialogue.

Includes bibliographical references and index.

Mixed feelings, Daniel Gross reminds us, are at the heart of Jane Austen's novel, Sense and Sensibility. We think we know what "mixed feelings" means, like a recipe: combine two parts a feeling like gratitude, one part happiness, a dash of resentment, and you get something like Elinor. But mixed feelings in the novel and beyond, Gross insists, are poorly served by this dis-equilibrium model; in fact mixed feelings are a matter of negotiated circumstances where feelings may be at odds as they converge on character. Hence the significance of literature and particularly the sentimental novel as a cross-disciplinary research domain, where this kind of rhetorical situation is exquisitely detailed. Gross gets considerable play out of Jane Austin as one of his research arenas, while at the same time referencing the sciences of situated emotion and behavioral economics to offer a new way of understanding mixed feelings as rhetorically situated. While that is but one thrust among several here, Gross explores at the same time a methodological opportunity at the interface of science and the humanities, beyond recent work in "Cognitive Approaches to Literature," which as he sees it tends to proceed unecologically (uncontextually) toward theory of mind. In contrast to his previous landmark study The Secret History of Emotion, here Gross carves out a space for cross-disciplinary work on emotion with a "situated emotion" critique of the basic emotions program, a "situated cognition" critique of computational psychology, and a critique of evolutionary psychology from many angles including cognitive scientific. The outcome is collaborative work across the sciences and humanities, where uncomfortable situations provide a paradigm for study. New insight into brain-body-world dynamics may yet arise from experiments in neuroscience and the situational concerns of the humanities, and the two-cultures divide may dissolve when shared phenomena like human emotions are treated with the diversity of methods and cross-disciplinary conversation their complexity deserves.

Does technology change who we are, and if so, in what ways? Can humanity transcend physical bodies and spaces? Will AI and genetic engineering help us reach new heights or will they unleash dystopias? How do we face mortality, our own and that of our warming planet? Questions like these—which are only growing more urgent—can be answered only by drawing on different kinds of knowledge and ways of knowing. They challenge us to bridge the divide between the sciences and the humanities and bring together perspectives that are too often kept apart. Great Minds Don’t Think Alike presents conversations among leading scientists, philosophers, historians, and public intellectuals that exemplify openness to diverse viewpoints and the productive exchange of ideas. Pulitzer and Templeton Prize winners, MacArthur “genius” grant awardees, and other acclaimed writers and thinkers debate the big questions: who we are, the nature of reality, science and religion, consciousness and materialism, and the mysteries of time. In so doing, they also inquire into how uniting experts from different areas of study to consider these topics might help us address the existential risks we face today. Convened and moderated by the physicist and author Marcelo Gleiser, these public dialogues model constructive engagement between the sciences and the humanities—and show why intellectual cooperation is necessary to shape our collective future. Contributors include David Chalmers and Antonio Damasio; Sean Carroll and B. Alan Wallace; Patricia Churchland and Jill Tarter; Rebecca Goldstein and Alan Lightman; Jimena Canales and Paul Davies; Ed Boyden and Mark O’Connell; Elizabeth Kolbert and Siddhartha Mukherjee; Jeremy DeSilva, David Grinspoon, and Tasneem Zehra Husain.