Since their breakthrough hit "Creep" in 1993, Radiohead has continued to make waves throughout popular and political culture with its views about the Bush presidency (its 2003 album was titled Hail to the Thief), its anti-corporatism, its pioneering efforts to produce ecologically sound road tours, and, most of all, its decision in 2007 to sell its latest album, In Rainbows, online with a controversial "pay-what-you-want" price. Radiohead and Philosophy offers fresh ways to appreciate the lyrics, music, and conceptual ground of this highly innovative band. The chapters in this book explain how Radiohead's music connects directly to the philosophical phenomenology of thinkers like Maurice Merleau-Ponty and Martin Heidegger, the existentialism of Albert Camus and Jean Paul Sartre, and the philosophical politics of Karl Marx, Jean Baudrillard, and Noam Chomsky. Fans and critics know that Radiohead is "the only band that matters" on the scene today -- Radiohead and Philosophy shows why.

From the 1970s cult TV show, Monty Python's Flying Circus, to the current hit musical Spamalot, the Monty Python comedy troupe has been at the center of popular culture and entertainment. The Pythons John Cleese, Graham Chapman, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam are increasingly recognized and honored for their creativity and enduring influence in the worlds of comedy and film. Monty Python and Philosophy extends that recognition into the world of philosophy. Fifteen experts in topics like mythology, Buddhism, feminism, logic, ethics, and the philosophy of science bring their expertise to bear on Python movies such as Monty Python's Life of Brian and Flying Circus mainstays such as the Argument Clinic, the Dead Parrot Sketch, and, of course, the Bruces, the Pythons' demented, song-filled vision of an Australian philosophy department. Monty Python and Philosophy follows the same hit format as the other titles in this popular series and explains all the philosophical concepts discussed in laymen's terms.

This intriguing and ground-breaking book is the first in-depth study of the development of philosophy of science in the United States during the Cold War. It documents the political vitality of logical empiricism and Otto Neurath's Unity of Science Movement when these projects emigrated to the US in the 1930s and follows their de-politicization by a convergence of intellectual, cultural and political forces in the 1950s. Students of logical empiricism and the Vienna Circle treat these as strictly intellectual non-political projects. In fact, the refugee philosophers of science were highly active politically and debated questions about values inside and outside science, as a result of which their philosophy of science was scrutinized politically both from within and without the profession, by such institutions as J. Edgar Hoover's FBI. It will prove absorbing reading to philosophers and historians of science, intellectual historians, and scholars of Cold War studies.

Pink Floyd's sound and light shows in the 1960s defined psychedelia, but their later recordings combined rock, orchestral music, literature, and philosophy. "Dark Side of the Moon" and "The Wall" ignored pop music's usual strictures to focus on themes of madness, despair, brutality, and alienation. Here, 16 scholars set delve into the heart of Pink Floyd by examining ideas, concepts, and problems usually encountered not in a rock band's lyrics but in the pages of Heidegger, Foucault, and Sartre. These include the meaning of existence, the individual's place in society, the contradictions of art and commerce, and the blurry line between genius and madness. The band's dynamic history allows the writers to explore controversies about intellectual property, the nature of authorship, and whether wholes, especially in the case of rock bands, are more than the sum of their parts.

What explains the huge popular following for Dexter, currently the most-watched show on cable, which sympathetically depicts a serial killer driven by a cruel compulsion to brutally slay one victim after another? Although Dexter Morgan kills only killers, he is not a vigilante animated by a sense of justice but a charming psychopath animated by a lust to kill, ritualistically and bloodily. However his gory appetite is controlled by "Harry's Code," which limits his victims to those who have gotten away with murder, and his job as a blood spatter expert for the Miami police department gives him the inside track on just who those legitimate targets may be. In Dexter and Philosophy, an elite team of philosophers don their rubber gloves and put Dexter's deeds under the microscope. Since Dexter is driven to ritual murder by his "Dark Passenger," can he be blamed for killing, especially as he only murders other murderers? Does Dexter fit the profile of the familiar fictional type of the superhero? What part does luck play in making Dexter who he is? How and why are horror and disgust turned into aesthetic pleasure for the TV viewer? How essential is Dexter's emotional coldness to his lust for slicing people up? Are Dexter's lies and deceptions any worse than the lies and deceptions of the non-criminals around him? Why does Dexter long to be a normal human being and why can't he accomplish this apparently simple goal?

This intriguing and ground-breaking book is the first in-depth study of the development of philosophy of science in the United States during the Cold War. It documents the political vitality of logical empiricism and Otto Neurath's Unity of Science Movement when these projects emigrated to the US in the 1930s and follows their de-politicization by a convergence of intellectual, cultural and political forces in the 1950s. Students of logical empiricism and the Vienna Circle treat these as strictly intellectual non-political projects. In fact, the refugee philosophers of science were highly active politically and debated questions about values inside and outside science, as a result of which their philosophy of science was scrutinized politically both from within and without the profession, by such institutions as J. Edgar Hoover's FBI. It will prove absorbing reading to philosophers and historians of science, intellectual historians, and scholars of Cold War studies.

Popular interest in bullshit -- and its near relative, truthiness -- is at an all-time high, but the subject has a rich philosophical history, with Hobbes, Locke, Hume, and Kant all weighing in on the matter. Here, contemporary philosophers reflect on bullshit from epistemological, ethical, metaphysical, historical, and political points of view. Tackling questions including what is bullshit, what does it do, is it a passing fad, and can it ever be eliminated, the book is a guide and resource for the many who find bullshit worth pondering.

Finnish philosopher Eino Kaila wrote a classic statement of logical empiricism. Having experienced the foundational debates of the Vienna Circle in 1929, Kaila was a keen follower of the further developments of the Circle. His synoptic presentation and analysis of the basic themes, or "theses," of the movement was based on his lectures as professor of theoretical philosophy at the University of Helsinki. The work appeared as a book in Finnish in 1939 and a Swedish translation by Georg Henrik von Wright followed immediately. Earlier, a translation of his philosophical essays from the original German, entitled "Reality and Experience," appeared in 1979. However, this is the first translation of Kaila's major epistemological work, which remains a source for re-evaluations of Logical Empiricism.

From their commanding role in the so-called British Invasion of the early 1960s to their status as the elder statesmen (and British Knight) of rock and roll, the Stones have become more than an evanescent phenomenon in pop culture. They have become a touchstone not only for the history of our times--their performance at the Altamont Raceway marked the "end of the sixties," while their 1990 concert in Prague helped Czechoslovakia and other eastern bloc nations celebrate their newfound freedom (and satisfaction) out from under Moscow's thumb. Because of their longevity, the music and career of the Stones--much more than The Beatles--stand as touchstones in the personal lives of even casual Stones fans. Everyone of a certain age remembers the Stones on Ed Sullivan, the death of founder Brian Jones, their favorite songs, concerts, or videos, and their stance in the classic "Beatles versus Stones" debates. In the wake of Keith Richards's bestselling autobiography, Life (2010), many are now reliving these events and decades from the viewpoint of the band's endearing and seemingly death-defying guitarist. The chapters in The Rolling Stones and Philosophy celebrate the Stones' place in our lives by digging into the controversies, the symbols, and meanings the band and its songs have for so many. What might you mean (and what did Mick mean) by "sympathy for the Devil"? Did the Stones share any of the blame for the deaths at Altamont, as critic Lester Bangs charged they did in Rolling Stone magazine? What theories of ethics and personality lay behind the good-boy image of the Beatles and the bad-boy reputation the Stones acquired? If Keith Richards really had his blood replaced four separate times, does that make him a zombie? How do the Glimmer Twins help us refine our understanding of friendship? Written by a dozen philosophers and scholars who adore the Rolling Stones not only for their music, this book will become required reading for anyone seeking maximum satisfaction from "the world's greatest rock and roll band."