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Our thinking about consciousness and cognition is dominated by a certain very natural conception. This conception dictates what we take the fundamental questions about consciousness and cognition to be as well as the form that their answers must take. In this book, Michael Thau shows that, despite ...

Our thinking about consciousness and cognition is dominated by a certain very natural conception. This conception dictates what we take the fundamental questions about consciousness and cognition to be as well as the form that their answers must take. In this book, Michael Thau shows that, despite its naturalness, this conception begins with and depends upon a few fundamental errors. Exorcising these errors requires that we completely reconceive the nature of both consciousness and cognition as well as the fundamental problems each poses. Thau proceeds by discussing three famous and important philosophical puzzles - Spectrum Inversion, Frege's Puzzle, and Black-and-White Mary - each of which concerns some aspect of either consciousness or cognition. It has gone unnoticed that at a certain important level of generality, each of these puzzles presents the very same problem and, in bringing out this common problem, the errors in our natural conception of consciousness and cognition are also brought out. Thau's book will appeal to the casual reader interested in the proper solution of these puzzles and the nature of consciousness and cognition. The discussion of Frege's puzzle also contains important insights about the nature of linguistic communication and, hence, anyone interested in the fundamental questions in philosophy of language will also want to read the book.

No two writing situations are exactly the same and skilled writers, like skilled painters, must develop the know-how to represent the objects of their writing as part of a flexible art. This special art of writing lies hidden between grammar--the well-formedness of sentences--and genre--the capacity ...

No two writing situations are exactly the same and skilled writers, like skilled painters, must develop the know-how to represent the objects of their writing as part of a flexible art. This special art of writing lies hidden between grammar--the well-formedness of sentences--and genre--the capacity of texts to perform culturally holistic communicative functions (e.g., the memo, the strategic report, the letter to the editor). Concealed between grammar and genre, this less visible art of writing is what Kaufer and Butler call "representational composition." Texts within this hidden art are best viewed not primarily as grammatical units or as genre functions, but as bearers of design elements stimulating imagistic, narrative, and information-rich worlds, and as an invitation to readers to explore and interact with them. This volume presents a systematic study of the principles that underlie writing as representational composition. Drawing from student models derived from a studio method, the authors use each chapter to present a different aspect of what unfolds--across the course of the book--into a cumulative, interactive, and unified body of representational principles underlying the design of texts. They reveal what makes the textual representations achieved by expert writers worthwhile, and, at the same time, difficult for novice writers to reproduce. Extending the framework of their 1996 volume, Rhetoric and the Arts of Design, into a realm of textual design, this volume will interest students and instructors of writing, rhetoric, and information design.