The phone call came mid-afternoon in February of 1996. The program chair for the annual meeting for the Southern Society of Philosophy and Psychology wanted to make sure he had the facts right. "This is somewhat unusual..." he began. "You're a philosophy professor who wants to present to psychologists in the psychology portion of the meeting." "That's right." "Well your paper was accepted for that part of the program but the others just wanted me to check and make sure that's where you want to be presenting." "That's right." Reassured, the professor wished me luck and said good-bye. In my session at the meeting, I was the last to present. As my time approached, the medium-sized room slowly became crowded. I dreamed that these psychologists had left their other meetings early to make sure to catch my presentation on the use of metaphors in attention research. As I arose to present I noticed that the half-full room had become standing room only! Finally, after years of feeling as if I was struggling alone in promoting and defending a phenomenology of attention, I had an eager audience for my message. My persistence had paid off. I delivered my message with passion.

In Intuition: The Inside Story scholars explore the nature of intuition and its practical place in the social and behavioural sciences and the arts. The contributors discuss the nature and experience of intuition from the perspectives of anthropology, philosophy, physics, engineering, psychology, medicine and midwifery. Contributors include: Marcie Boucouvalas, Guy Burneko, Brenda J. Dunne, Jeremy Hayward, Charles Laughlin, Evelyn Monsay, Anne Pineault, Luci Roncalli and Joe Sheridan.

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From novelists to political cartoonists, artists have long brought a unique perspective to important public discussions of social and political issues. Yet, fury and debate over the role of the artist has resulted in blacklisting, banning, and symbolically burning artists who use their work as a means of social critique and social change. The Art of Social Critique makes a case for the complexity of artistic ways of "seeing" social life - observing, analyzing and portraying society - by examining the interdisciplinary nature of imagination. The authors cover a range of novelists, painters, musicians, cartoonists, poets and others whose explorations of the human condition directly connect to complex methods of social inquiry often associated with other disciplines. Specific parallels are drawn between the social sciences and the theories, lenses, and aesthetics that allow these artists to gain a clearer view of social life. Artistic techniques, such as metaphor, caricature, and irony, are examined as unique methods of social inquiry, while the novelist and poet become ethnographers of social life. By treading the common ground between the arts, humanities and social sciences, The Art of Social Critique raises a number of important questions about the role of art in society: What are the relationships between imagination, creativity, perspective, experimentation and unveiling social life? How does the artistic perspective engage in representation, give voice, or unveil? How have artists examined the relationship between the individual and society, social structures, or social norms that we take for granted? Each chapter explores how the "artistic eye," as a form of qualitative social inquiry, helps both the artist and the audience arrive at a more complex understanding of society. From art as a social movement to the important relationship between art and collective memory, The Art of Social Critique covers imagination as an interdisciplinary concept that draws on the sociological, psychological, historical, and political. Together these essays reveal art as more than mere entertainment or amusement - it is an interdisciplinary way of knowing our social world.

The phone call came mid-afternoon in February of 1996. The program chair for the annual meeting for the Southern Society of Philosophy and Psychology wanted to make sure he had the facts right. "This is somewhat unusual..." he began. "You're a philosophy professor who wants to present to psychologists in the psychology portion of the meeting." "That's right." "Well your paper was accepted for that part of the program but the others just wanted me to check and make sure that's where you want to be presenting." "That's right." Reassured, the professor wished me luck and said good-bye. In my session at the meeting, I was the last to present. As my time approached, the medium-sized room slowly became crowded. I dreamed that these psychologists had left their other meetings early to make sure to catch my presentation on the use of metaphors in attention research. As I arose to present I noticed that the half-full room had become standing room only! Finally, after years of feeling as if I was struggling alone in promoting and defending a phenomenology of attention, I had an eager audience for my message. My persistence had paid off. I delivered my message with passion.