I like to observe and think before I write. I try to be as creative as I can be when I do this. And I try to keep it real. It is because I believe in conveying my thoughts in that manner.

The standard view of philosophical methodology is that philosophers rely on intuitions as evidence. Herman Cappelen argues that this claim is false, and reveals how it has encouraged pseudo-problems, presented misguided ideas of what philosophy is, and misled exponents of metaphilosophy and experimental philosophy.

An English translation of the French philosopher’s sixth book, in which he seeks to develop a metaphysical context for modern atomistic science. French philosopher Gaston Bachelard (1884–1962) is best known in the English-speaking world for his work on poetics and the literary imagination, but much of his oeuvre is devoted to epistemology and the philosophy of science. Like Thomas Kuhn, whose work he anticipates by three decades, Bachelard examines the revolution taking place in scientific thought, but with particular attention to the philosophical implications of scientific practice. Atomistic Intuitions, published in 1933, considers past atomistic doctrines as a context for proposing a metaphysics for the scientific revolutions of the twentieth century. As his subtitle indicates, in this book Bachelard proposes a classification of atomistic intuitions as they are transformed over the course of history. More than a mere taxonomy, this exploration of atomistic doctrines since antiquity proves to be keenly pedagogical, leading to an enriched philosophical appreciation of modern subatomic physics and chemistry as sciences of axioms. Though focused on philosophy of science, the perspectives and intuitions Bachelard garnered through this work provide a unique and even essential key to understanding his extensive writings on the imagination. Roch C. Smith’s translation and explanatory notes will help to make this aspect of Bachelard’s thought accessible to a wider readership, particularly in such fields as aesthetics, literature, and history.

"All great achievements of science must start from intuitive knowledge," wrote Albert Einstein. In Structural Intuitions, a fascinating exploration of the commonalities between two seemingly disparate realms, renowned art historian Martin Kemp applies Einstein's notion both to science and to art. Kemp argues that in both fields, work begins at the intuitive level, curiosity aroused by our recognition of patterns or order. Kemp's "structural intuitions," then, are the ways we engage fundamental perceptual and cognitive mechanisms to bring order to our observed world. Through stimulating juxtaposition, Kemp considers connections between naturally occurring patterns, cognitive processes, and artistic and scientific expression, drawing on an array of examples from the Renaissance through the present. Taking a broadly historical approach, Kemp examines forms and processes such as the geometry of Platonic solids, the dynamics of growth, and the patterns of fluids in motion, while placing the work of contemporary artists, engineers, and scientists in dialogue with that of visionaries such as Leonardo da Vinci and D'Arcy Thompson. Richly illustrated, lucidly written, and wonderfully thought-provoking, Structural Intuitions is essential reading for anyone seeking insight into common ground in the arts and sciences.

One of the world's leading philosophers offers aspiring thinkers his personal trove of mind-stretching thought experiments. Includes 77 of Dennett's most successful "imagination-extenders and focus-holders.O

This highly stimulating study observes many historical interrelationships between art and mathematics. It explores ancient and Renaissance painting and sculpture, the development of perspective, and advances in projective geometry.

Individuals vary in their ability to reflect on and override partisan impulses, affecting their ability to rationally evaluate politicians.