Reading Augustine is a new line of books offering personal readings of St. Augustine of Hippo from leading philosophers and religious scholars. The aim of the series is to make clear Augustine's importance to contemporary thought and to present Augustine not only or primarily as a pre-eminent Christian thinker but as a philosophical, spiritual, literary and intellectual icon of the West. Why did the ancients come to adopt monotheism and Christianity? On God, The Soul, Evil and the Rise of Christianity introduces possible answers to that question by looking closely at the development of the thought of Augustine of Hippo, whose complex spiritual trajectory included Gnosticism, academic skepticism, pagan Platonism, and orthodox Christianity. What was so compelling about Christianity and how did Augustine become convinced that his soul could enter into communion with a transcendent God? The apparently sudden shift of ancient culture to monotheism and Christianity was momentous, defining the subsequent nature of Western religion and thought. John Peter Kenney shows us that Augustine offers an unusually clear vantage point to understand the essential ideas that drove that transition.

This book explores how predictive processing, which argues that our brains are constantly generating and updating hypotheses about our external conditions, sheds new light on the nature of the mind. It shows how it is similar to and expands other theoretical approaches that emphasize the active role of the mind and its dynamic function. Offering a complete guide to the philosophical and empirical implications of predictive processing, contributors bring perspectives from philosophy, neuroscience, and psychology. Together, they explore the many philosophical applications of predictive processing and its exciting potential across mental health, cognitive science, neuroscience, and robotics. Presenting an extensive and balanced overview of the subject, The Philosophy and Science of Predictive Processing is a landmark volume within philosophy of mind.

In Biocultural Creatures, Samantha Frost brings feminist and political theory together with findings in the life sciences to recuperate the category of the human for politics. Challenging the idea of human exceptionalism as well as other theories of subjectivity that rest on a distinction between biology and culture, Frost proposes that humans are biocultural creatures who quite literally are cultured within the material, social, and symbolic worlds they inhabit. Through discussions about carbon, the functions of cell membranes, the activity of genes and proteins, the work of oxygen, and the passage of time, Frost recasts questions about the nature of matter, identity, and embodiment. In doing so, she elucidates the imbrication of the biological and cultural within the corporeal self. In remapping the relation of humans to their habitats and arriving at the idea that humans are biocultural creatures, Frost provides new theoretical resources for responding to political and environmental crises and for thinking about how to transform the ways we live.

What does it mean to see time in the visual arts and how does art reveal the nature of time? Paul Atkinson investigates these questions through the work of the French philosopher Henri Bergson, whose theory of time as duration made him one of the most prominent thinkers of the fin de siecle. Although Bergson never enunciated an aesthetic theory and did not explicitly write on the visual arts, his philosophy gestures towards a play of sensual differences that is central to aesthetics. This book rethinks Bergson's philosophy in terms of aesthetics and provides a fascinating and original account of how Bergsonian ideas aid in understanding time and dynamism in the visual arts. From an examination of Bergson's influence on the visual arts to a reconsideration of the relationship between aesthetics and metaphysics, Henri Bergson and Visual Culture explores what it means to reconceptualise the visual arts in terms of duration. Atkinson revisits four key themes in Bergson's work - duration; time and the continuous gesture; the ramification of life and durational difference - and reveals Bergsonian aesthetics of duration through the application of these themes to a number of 19th and 20th-century artworks. This book introduces readers and art lovers to the work of Bergson and contributes to Bergsonian scholarship, as well as presenting a new of understanding the relationship between art and time.