Contemporary Japanese Philosophy: A Reader is an anthology of contemporary (post-war) Japanese philosophy showcasing a range of important philosophers and philosophical trends from 1945 to the present. This important and comprehensive volume introduces the reader to a variety of trends and schools of thought. The first part consists of selections and excerpts of writings from contemporary Japanese philosophers who have made original contributions to Japanese philosophy and promise contributions to world philosophy. Most of these selections appear in English for the first time. The second part consists of original essays written for this volume by scholars in Japanese philosophy on specific trends and tendencies of contemporary Japanese philosophy, such as feminist philosophy, the Kyoto School, and environmental philosophy, as well as future directions the field is likely to take. Ideal for classroom use, this is the ultimate resource for students and teachers of Japanese philosophy.

“Unified Reality Theory demonstrates that the source of reality is a universal consciousness, and that we are in no way separable from that source, and so in no way truly separable from each other or any other aspect of reality. I recommend this book to anyone interested in understanding the nature of reality and their place in it.” —Deepak Chopra Unified Reality Theory describes how all reality evolves from an absolute existence. It also demonstrates that this absolute existence must have consciousness as an attribute that’s intrinsic to its being. Thus, Unified Reality Theory shows that consciousness, rather than being a product of the evolution of physical reality, is itself the source of what we experience as physical reality, and that physical reality is itself but one aspect of an evolving universal consciousness. Unified Reality Theory shows that, most fundamentally, this absolute consciousness-existence evolves into reality by means of a single process: self-relation. That is, consciousness-existence becomes reality by forming relationships with itself, analogous in a very limited way to what happens to a rubber band that’s twisted upon itself, i.e., it remains whole while differentiating into other forms. Thus, Unified Reality Theory demonstrates that reality is a state of existential self-relation. The idea that the universe consists of existence which has formed relationships with itself isn’t new; Taoists have understood this idea for at least a couple of thousand years. What’s new here is the presentation of this idea in the form of a detailed and defined structural model that correlates with the behavior of physical reality as described by science in general and physics in particular. Ultimately, Unified Reality Theory uses science and logic to make the case that God exists, as a pervasive and absolute consciousness that transcends the realities of space and time, and that we, as well as everything else, are that!

'The Oxford Handbook of Aesthetics' has assembled 48 brand-new essays, making this a comprehensive guide available to the theory, application, history, and future of the field.

How can we “know”? What does “knowledge” mean? These were the fundamental questions of epistemology in the 17th century. In response to continental rationalism, the British empiricist John Locke proposed that the only knowledge humans can have is acquired a posterior. In a discussion of the human mind, he argued, the source of knowledge is sensual experience – mostly vision. Since vision and picture-making are the realm of art, art theory picked up on questions such as: are pictures able to represent knowledge about the world? How does the production of images itself generate knowledge? How does pictorial logic differ from linguistic logic? How can artists contribute to a collective search for truth? Questions concerning the epistemic potential of art can be found throughout the centuries up until the present day. However, these are not questions of art alone, but of the representational value of images in general. Thus, the history of art theory can contribute much to recent discussions in Visual Studies and Bildwissenschaften by showing the historic dimension of arguments about what images are or should be. “What is knowledge?” is as much a philosophic question as “What is an image?” Visual epistemology is a new and promising research field that is best investigated using an interdisciplinary approach that addresses a range of interconnected areas, such as internal and external images and the interplay of producer and perceiver of images. This publication outlines this territory by gathering together several approaches to visual epistemology by many distinguished authors.

"The text is at once a meditation on theories of form and an essay on the painter Gerhard Richter as a philosophical pragmatist. Richter serves as the inspiration for a broader argument about the nature of "art" itself and for what Klinger professes to be a fresh approach to contemporary art more generally. He (1) addresses the widely conceded exhaustion of the modernist-postmodernist paradigm that has been used to negotiate the "essence of art" for decades and (2) offers what he says is a solution to the resulting gap that leaves us unclear on how to make art and talk about it. He draws on Kuhn's definition that a paradigm consists of the pre-theoretical framework of any practice: While rules and principles, where they exist, grow out of the paradigm, the paradigm can guarantee the functioning of a practice in the absence of rules. He sees Richter as relevant because the painter has never accepted the modern, neo-avant-garde, or postmodern movements as paradigms for his production. Klinger maintains that the goal of Richter's artistic program is "to replace traditional essentialist models of artistic form by a pragmatic model" of respecting the properties of actual physical substances at hand, such as paint, and making art in terms of process rather than with a prescribed end. This way, the modernist-postmodernist paradigm is neither affirmed nor perpetuated in the mode of its reversal, critique or deconstruction, but replaced by something else that forms an effective reaction to the situation without directly deriving from it"--