The Explanation of Behaviour was the first book written by the renowned philosopher Charles Taylor. A vitally important work of philosophical anthropology, it is a devastating criticism of the theory of behaviourism, a powerful explanatory approach in psychology and philosophy when Taylor's book was first published. However, Taylor has far more to offer than a simple critique of behaviourism. He argues that in order to properly understand human beings, we must grasp that they are embodied, minded creatures with purposes, plans and goals, something entirely lacking in reductionist, scientific explanations of human behaviour. Taylor's book is also prescient in according a central place to non-human animals, which like human beings are subject to needs, desires and emotions. However, because human beings have the unique ability to interpret and reflect on their own actions and purposes and declare them to others, Taylor argues that human experience differs to that of other animals. Furthermore, the fact that human beings are often directed by their purposes has a fundamental bearing on how we understand the social and moral world. Taylor's classic work is essential reading for those in philosophy and psychology as well as related areas such as sociology and religion. This Routledge Classics edition includes a new Preface by the author and a new Foreword by Alva Noe, setting the book in philosophical and historical context.

The Explanation of Behaviour was the first book written by the renowned philosopher Charles Taylor. A vitally important work of philosophical anthropology, it is a devastating criticism of the theory of behaviourism, a powerful explanatory approach in psychology and philosophy when Taylor's book was first published. However, Taylor has far more to offer than a simple critique of behaviourism. He argues that in order to properly understand human beings, we must grasp that they are embodied, minded creatures with purposes, plans and goals, something entirely lacking in reductionist, scientific explanations of human behaviour. Taylor's book is also prescient in according a central place to non-human animals, which like human beings are subject to needs, desires and emotions. However, because human beings have the unique ability to interpret and reflect on their own actions and purposes and declare them to others, Taylor argues that human experience differs to that of other animals. Furthermore, the fact that human beings are often directed by their purposes has a fundamental bearing on how we understand the social and moral world. Taylor's classic work is essential reading for those in philosophy and psychology as well as related areas such as sociology and religion. This Routledge Classics edition includes a new Preface by the author and a new Foreword by Alva Noe, setting the book in philosophical and historical context.

Learning to Look is a wandering journey through the nature of art - and the ways it can transform us, if we let it. Author of Infinite Baseball, Alva Noe, presents a collection of short, stimulating essays that explore how we experience art and what it means to be an "observer." Experiencing art - letting it do its work on us - takes thought, attention, and focus. It requires creation, even from the beholder. And it is in this process of confrontation and reorganization that artworks can lead us to remake ourselves. Ranging far and wide, from Pina Bausch to Robocop, from Bob Dylan to Vermeer, Noe uses encounters with specific artworks to gain entry into a world of fascinating issues - like how philosophy and science are represented in film; what evolutionary biology says about art; or the role of relics, fakes, and copies in our experience of a work. The essays in Learning to Look are short, accessible, and personal. Each one arises out of an art encounter - in a museum, listening to records, or going to a concert. Each essay stands on its own, but taken together, they form an intimate picture of our relationship with art. Carefully articulating the experience of each of these encounters, Noe proposes that, like philosophy, art is a sort of technology for understanding ourselves. Put simply, art is an opportunity for us to enact ourselves anew.

The world shows up for us - it is present in our thought and perception. But, as Alva Noe contends in his latest exploration of the problem of consciousness, it doesn't show up for free. The world is not simply available; it is achieved rather than given. As with a painting in a gallery, the world has no meaning - no presence to be experienced - apart from our able engagement with it. We must show up, too, and bring along what knowledge and skills we've cultivated. This means that education, skills acquisition, and technology can expand the world's availability to us and transform our consciousness. Although deeply philosophical, Varieties of Presence is nurtured by collaboration with scientists and artists. Cognitive science, dance, and performance art as well as Kant and Wittgenstein inform this literary and personal work of scholarship intended no less for artists and art theorists, psychologists, cognitive scientists, and anthropologists than for philosophers. Noe rejects the traditional representational theory of mind and its companion internalism, dismissing outright the notion that conceptual knowledge is radically distinct from other forms of practical ability or know-how. For him, perceptual presence and thought presence are species of the same genus. Both are varieties of exploration through which we achieve contact with the world. Forceful reflections on the nature of understanding, as well as substantial examination of the perceptual experience of pictures and what they depict or model are included in this far-ranging discussion.

There is a traditional scepticism about whether the world 'out there' really is as we perceive it. A new breed of hyper-sceptics now challenges whether we even have the perceptual experience we think we have. According to these writers, perceptual consciousness is a kind of false consciousness. This view grows out of the discovery of phenomena like change blindness and inattentional blindness. Such radical scepticism has acute and widespread implications for the study of perception and consciousness. Contributors include: psychologists Susan Blackmore, Arien Mack and Bruce Bridgeman and philosophers Daniel Dennett, Andy Clark, Jonathan Cohen, and Charles Siewert.

In the past fifty years, contemporary artistic practice has witnessed a surge in phenomenological types of artistic intent and methodology, represented by divergent impulses sharing a desire to channel ephemeral elements, resist categorization, and defy the rarified museum experience. Time-based work is now widely accepted as primary exhibition matter, and in the past ten years, performance art has risen to the mainstream. Defining "experiential art" as work that is immersive, participatory, performative, and kinetic, Strange Pilgrims is an exhibition and accompanying catalogue organized by The Contemporary Austin, weaving fourteen artists into a loose collection of propositions occupying unconventional spaces and formats. The title comes from Gabriel Garcia Marquez's collection of twelve short stories of the same name, riffing on the wandering protagonist as a metaphor for an open-ended journey through strange and unfamiliar spaces. Created in tandem with the exhibition on view in fall 2015 and winter 2016 at The Contemporary Austin's two sites, as well as a third venue, the Visual Arts Center at the University of Texas at Austin, this catalogue presents a parallel but stand-alone assemblage of ideas and concepts that respond to and resonate with one another under the broad umbrella of experience and perception. The book features an essay by the curator Heather Pesanti, a guest essay by the scholar Ann Reynolds, and an interview between author and critic Lawrence Weschler and the philosopher Alva Noe. All fourteen artists are represented through individual sections with color plates and explicatory text. In addition, Artist's Voice sections have been contributed by Roger Hiorns, Trisha Baga and Jessie Stead, and Lakes Were Rivers.