The world shows up for us—it is present in our thought and perception. But, as Alva Noë 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.

Noë 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.

Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception.

Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.

Is a human being a person or a machine? Is the mind a social construction or a formal device? It is both, William Frawley tells us, and by bringing together Vygotsky's sociocultural theory of the mind and cognitive science's computational model, he shows us how this not only can but must be. To do so, Frawley focuses on language, particularly on how the computational mind uses language to mediate the internal and the external during thought. By reconciling the linguistic device and the linguistic person, he argues for a Vygotskyan cognitive science.

Frawley begins by exploding the internalist/externalist dichotomy that presently drives cognitive science and falsely pits computationalism against socioculturalism. He replaces the reigning Platonic paradigm of computational mind-science with a framework based on an unusual, unified account of Wittgenstein, thus setting the stage for a Vygotskyan cognitive science centered on three aspects of mind: subjectivity, real-time operation, and breakdown. In this context, he demonstrates how computational psychology accommodates a critical aspect of Vygotskyan theory--private speech--as the mind's metacomputational regulator. An examination of certain congenital disorders (such as Williams Syndrome, Turner Syndrome, and autism) that disrupt speech further clarifies the issue of computational and cognitive control.