The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of (...) artistic creations from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by a wide range of examples from various periods and countries, the authors strive to help students develop a core set of analytical skills that will deepen their understanding of any film, in any genre. Frame enlargements throughout the text (...) enable students to view images taken directly from completed films, while an optional, text-specific tutorial CD-ROM helps clarify and reinforce specific concepts addressed in the text with the use of film clips. Building on these strengths, the ninth edition adds coverage of new technologies, updated examples, and references to the authors' acclaimed weblog to provide unparalleled currency and connect students with the world of cinema today. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes (...) the world about which we communicate. Increasingly, we are making a world that’s worth depicting, using the tools we now possess. This paper will unpack one example of this phenomenon, trompe l’oeil street art. More and more of this seems to be produced with the intention that it is seen primarily in pictures. It makes sense that anything someone makes, and wants to be seen, would be made with decent photography potential in mind. You want photos to be able to, as they say, do justice to your work no matter what kind of visual work you make. In these cases, however, the pictures of the work are reliably more interesting than the pieces seen in the flesh. (shrink)

L’art pictural religieux non figuratif est difficile à interpréter, et encore plus à théoriser. Plusieurs au xxe siècle ont tenté de le faire selon différentes perspectives. On a élaboré des solutions crypto-réaliste, puis expressionniste et, plus récemment, minimaliste. Tous ces points de vue semblent insuffisants pour rendre compte de la dimension religieuse dans l’art non figuratif. On pourrait enfin envisager une quatrième solution, rhétorique cette fois, qui jetterait un éclairage nouveau sur ce genre d’oeuvre tout en proposant quelques clés d’interprétation (...) aux amateurs d’art ainsi qu’aux artistes qui s’y intéressent. Non figurative pictorial art is difficult to interpret and even more difficult to theorize upon. Several attempts to do so were undertaken throughout the 20th century. Crypto-realist, expressionist and minimalist explanations have been proffered. None of these perspectives, however, sufficiently accounts for the religious dimension in non-figurative art. A rhetorical approach may provide a solution which will shed light on this particular form of artistic expression at the same time that it suggests a number of hermeneutical keys that may prove useful to art-lovers and artists alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of (...) which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, (...) such arguments can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

Early educators are in a bind. Teacher education programs are calling on them more and more to help students practice critical thinking and develop intellectual character ; yet school funding depends on meeting Common Core standards, which do not explicitly assess critical thinking until the high-school level. Add to that an over-engineered content curriculum, and thinking becomes a luxury that is quickly lost amid more immediate concerns. As a result, we are raising a generation of “excellent sheep” who flourish amid (...) standardized tests but are increasingly unable to think for themselves. The problem, we suggest, is that today’s teachers are in such a rush to give students the answers that they are not allowing them time to ask the questions. As a result, students cannot find the “deep structure” of issues. Bodies of knowledge thus strike them as disconnected facts, quickly forgotten. The solution, as suggested by recent work in cognitive science, is to teach critical thinking through teaching content. In what follows, we propose a way of organically integrating content and thinking through games, story books and art. With this, we put children into the driver’s seat, encouraging them to ask their own questions, to propose their own answers and to join their peers in joint inquiry through dialogue. In a word, we propose teaching children philosophy as early as possible. Tom Wartenberg has made considerable progress with his picture-book philosophy curriculum designed for elementary schools. But what of younger children? Combining the resources of Rollins College’s Philosophy Department and Child Development and Student Research Center, we set out to find “how low can we go?” Over four terms’ of trial and error, we have adapted and distilled Wartenberg’s methods into a model that works for the Center’s 4-year-olds, and we have tested this model on a larger scale through a one-term collaboration with the Winter Park Day Nursery. (shrink)

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing how (...) it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. Philosophers, psychologists and art theorists will find this a sophisticated and stimulating treatment of one of the central topics in aesthetics. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] Crowther’s most recent book How Pictures Complete Us marks a new phase in this prolific and sometimes iconoclastic philosopher’s oeuvre. Crowther—an aesthetician that engages equally with both analytic and continental traditions—is perhaps best known for his writing on Kant, his theory of ‘Supermodernity’ and for his commitment to a new form of phenomenological (...) investigation, all in the name of Crowther’s primary concern, that is, the philosophical analysis of the nature of art.Despite Crowther’s expansive frame of reference and a writing career spanning almost three decades, nowhere has he previously—to my knowledge—made substantial recourse to theological argument. This book hence represents a break in continuity... (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; (...) and cover songs as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

English summary: The relationship of art to physical violence in European cultural history has always been intricate. Aestheticised violence in the fine arts, on the stage or in literature has often been discredited, but at the same time - not least because of the contiguity of violence and sexuality - it is received with pleasure. In a survey of literary examples from antiquity, the Renaissance and modernity, the author begins by elucidating the development in Europe of the troubled relationship (...) between aesthetics and violence. This relationship is then examined from a psychoanaltical angle in two exemplary studies of music. The dual perspective continues with the analyses of contemporary cultural producers (a theatre director, a photographic artist and a film director) together with those of cultural scientists (from theatre studies, art history, and film and media studies). In this way, the actual process of aesthetisizing violence, on the one hand, and theoretical reflections on it, on the other, become clear.German description: Das Verhaltnis der Kunste zur physischen Gewalt ist in der europaischen Kulturgeschichte immer schon ein intrikates gewesen. Asthetisierte Gewalt in der Kunst, auf der Buhne oder in der Literatur wurde zwar oft diskreditiert, zugleich aber - auch wegen der Nahe von Gewalt und Sexualitat - mit Genuss rezipiert. An den Beispielen der Literatur der Antike, der Renaissance und der Moderne zeigt der Band die europaische Entwicklung des ambivalenten Verhaltnisses von Asthetik und Gewalt auf. Aus psychoanalytischer, kulturwissenschaftlicher und medienwissenschaftlicher Perspektive verdeutlichen die Beitrager sowohl konkrete Verfahren des Asthetisierens von Gewalt als auch ihre theoretische Reflexion. Erganzt durch Analysen aus dem Kulturbetrieb - u.a. von Daniel Rademacher, Wilfred H.G. Neuse und Thomas Sieben - bietet der Band so einen umfassenden Einblick in die Beziehung zwischen Kunst und Gewalt. (shrink)

Arthur Danto's philosophy of film is contained almost entirely in a single, rich, but unruly essay, “Moving Pictures”, chock full of examples but digressive to the point of distraction. Danto's method is to address senses in which pictures generally may be said to be “moving” and to determine in which sense, indicative only of it, might film be said to be so. Danto dismisses out‐of‐hand communal viewing as a basis for understanding film on a purely theatrical model. Danto's (...) discussion of photography as a basis for film begins with a brief contrast with painting, the art that provides the hub of his general account of the ontology of art. The conclusion of “Moving Pictures” suggests that it is not so much making plain the reflexive nature of filmic representation that matters, but rather the exploitation of that structure in terms of the filmmaker's sensibility. (shrink)

This beautiful introduction to art and language features some of the world's most beloved masterpieces as it entices children to discover art, language, objects, and colors. First pictures, first words--this familiar and time-proven book concept for young children is incorporated brilliantly in this multi-lingual art book. The works of Renoir, Kandinsky, Dürer, Rousseau, Franz Marc, and others are featured in beautiful full-page reproductions. Opposite each image is a word that helps describe the painting--for instance "play," "bunny," "horse," "train." The (...) words are presented in twelve different languages, each with their phonetic pronunciation. Organized thematically, the book touches on a child's everyday experience through simple and comforting images that will invite further investigation: What are the men playing with? What does the bunny's fur feel like? How many teddy bears do you see? Together adults and children can explore great works, planting the seeds for an appreciation of the world's masterpieces and the words to describe them."--Publisher's description. (shrink)

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To (...) this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics. (shrink)

What are pictures good for? “Nothing” recurs as the apparently irrepress- ible reply of a motley collection iconophobes from Plato to the mediaeval iconoclasts, to parents concerned about comic books, to postmoderns in a lather over “scopic regimes”. In the aftermath of Nelson Goodman’s Languages of Art (1976), philosophers doubled down on theories of depiction and pictorial experience, but they have not rushed to work on the value of pictures. Those few who have written about pictorial value have (...) taken for granted an approach aptly dubbed “psychologism” (Wol- lheim 1987; Hopkins 1997; Lopes 2005). According to psychologism, we can understand pictorial value by appealing only to cognitive traits and capacities. Yet psychologism is enough out of step with studies of pic- tures outside philosophy that it dampens philosophy’s impact on the very scholars who could most use a defense of pictorial value. Here is a thesis: psychologism is false. Here is its payoff: an alternative to psychologism better suits the work of scholars outside philosophy. (shrink)

Using an approach deeply informed by philosophy of art, art history and perceptual psychology, this book places seeing at the centre of an original theory of pictorial representation and explores the ramifications such a theory has for the visual arts.

This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.

This chapter talks about Peter Catalanotto's delightfully illustrated picture book, Emily's Art. Traditionally, the philosophy of art was also called aesthetics, a term derived from the ancient Greek. There are many intriguing issues in the philosophy of art. For example, philosophers have proposed various different solutions to the question of what art is. Art is a subject that interests children because they often are engaged in producing it. So an interesting way to begin a discussion of issues in the philosophy (...) of art is to ask the children whether they prefer Kelly's paintings or Emily's and why. Once they explain, ask them whether they think that other people should agree with them, or if it's fine for other people to disagree. And, as usual, ask them to explain why they think what they think. (shrink)

It is a commonplace that Western culture is in moral crisis. One response has been to turn to art to fill the vacuum created by the collapse of traditional morality. I analyze one version of this appealing but deeply paradoxical view of art: Hans-Georg Gadamer's proposal to find in art a source of moral instruction which neither reverts to foundationalism nor leads to relativism. I argue that Gadamer's romantic picture of art overlooks the possibility that the authority of tradition and (...) our transformation by it may be part of the problem instead of the solution. (shrink)

I find it more than merely suggestive that we call many different kinds of pictures "realistic." As a category label, "realistic" is remarkably elastic. We cheerfully place into the category pictures that are made in strict accordance with the rules of linear perspective, pictures that are at slight variance with those rules but that nonetheless look perfectly "correct" , and pictures made in flagrant contravention of perspective geometry . We accept as realistic pictures that are (...) made in strict accordance with the rules of perspective construction that we could never judge as being similar to anything we might or could ever see . We accept as realistic pictures that are in sharp disagreement with what we now take to be the facts of vision . . . There is something charming and yet nasty about the belief in the special relation of picture to world. It is charming because it allows us to "enter" with ease into pictures and allows them to "extend" into our world. It allows us to think of pictures as "true to life," to use [Ernst] Gombrich's beguiling term, to look at a picture and ask questions of it, as if we were looking at the world through a window. It allows us to treat pictures as substitutes for the objects they represent and so, for example, to buy clothing from an illustrated catalogue, or to analyze architectural styles from pictures of buildings. In brief, it allows us to feel proximity to what is depicted and urges us to conclude that in certain important respects looking at a picture is equivalent to looking at what is pictured. Joel Snyder, associate professor of humanities and of art and design at the University of Chicago, teaches aesthetics, and theory and history of photography. A practicing photographer, he is currently completing a monograph on the photographer Timothy H. O'Sullivan. His contributions to Critical Inquiry include "Photography, Vision, and Representation" and "Reflexions on Las Meninas: Paradox Lost", written with Ted Cohen in the Winter 1980 issue. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the (...) appreciation of pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

Sir Joshua Reynolds RA FRS FRSA (1723-1792) was an important and influential 18th century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealisation of the imperfect. Showing an early interest in art, Reynolds was apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743. From 1749 to 1752, he spent over two years in Italy, where he studied the Old Masters and acquired a taste for the "Grand (...) Style." Unfortunately, whilst in Rome, Reynolds suffered a severe cold which left him partially deaf and, as a result, he began to carry a small ear trumpet with which he is often pictured. From 1753 until the end of his life he lived in London, his talents gaining recognition soon after his arrival in France. He was one of the founders and first President of the Royal Academy. George III appreciated his merits and knighted him in 1769. He was one of the earliest members of the Royal Society of Arts, helped found the Society of Artists, and, with Gainsborough, established the Royal Academy of Arts as a spin-off organisation. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic (...) art and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 120-124 [Access article in PDF] Pictures & Tears. a History of People Who Have Cried in Front of Paintings, by James Elkins. London: Routledge, 2001, xiii + 272pp., $26. In "Tears, Idle Tears" from The Princess, Alfred, Lord Tennyson wonders at the tears forming in his eyes as he gazes out across the fields one fall day. The idyllic countryside, far (...) from providing solace, triggers within him a debilitating sadness, an all-encompassing melancholia, manifested by the tears originating from a deep despair; the autumn fields remind Tennyson's narrative persona of all the days that have passed by him.If Tennyson's eyes had fallen not on autumn fields but on a painting of them then the opening lines to "Tears, Idle Tears" might have served as the perfect epigraphic frame to James Elkins's important study of the tears we do and do not shed when looking at art.One of several recent books by the increasingly influential professor at Chicago's School of the Art Institute, Pictures & Tears probes that aspect of our consciousness that has the capacity [End Page 120] to move us to tears when looking at paintings.Shedding tears in front of paintings? Within contemporary culture it seems rather unlikely for someone to respond to a painting by fighting off, or giving in, to tears. Reactions to paintings in previous periods and societies were wholly different from ours, Elkins argues. Paintings not only incited the passions but were blamed for the onset of numerous, serious medical conditions. Though rare today, cases continue to be reported. The Italian psychiatrist Graziella Magherini even coined a term for it in 1989, "Stendhal syndrome," referring to the novelist whose viewing of art in Florence was accompanied by the onset of a form of nervous exhaustion.While the subtitle of Elkins's book suggests a history of crying in front of pictures, leading us to the nearly tearless present, and thus, presumably, to answers about why we no longer cry in front of paintings, A History of People Who Have Cried in Front of Paintings is somewhat misleading. In the truest sense Pictures & Tears is neither a history of crying in front of pictures nor individual histories of those who have. The book does not follow a linear historical narrative of the tears that pictures have evoked over the centuries. Rather, Elkins's chapters constitute a tableau, the accumulation of fragments, with alternating chapters exploring, first, a particular work of art and the tears it has evoked and, second, ruminations on why that might be the case.At the heart of Elkins's argument is a concern over why we no longer seem willing, or indeed able, to have emotional responses to paintings. Besides the occasional grand response to works of art, particularly those vested withsignificant religious meaning, few admit to intimate connections with paintings. Elkins wants to know why.To answer these questions, Elkins turned to colleagues as well as to people he had never met. His research for the book included letters to fellow scholars and peers, and open calls in newspapers and journals, requesting stories from anyone moved to tears on encountering a painting. He received more than four hundred responses, many of which are included in a substantial appendix. The responses themselves make for an intriguing read and from them Elkins builds a two-pronged argument: we now live in an age that is marked by "stoic intellectualism" (p. 163), yet we still have the capacity to feel an intimate connection to paintings. Art in recent years has demanded greater intellectual engagement, lessintimate involvement. There may be exhibitions that fuel fear, distrust, anger, or rage but these are alienating to the works themselves, although these feelings can certainly be as intense as the more intimate connection that Elkins equates with falling in love.What is it about viewing paintings, as opposed to film or theater, he asks, which prevents full emotional expression? Is it the accoutrements used to view gallery paintings — the exhibition catalogs... (shrink)

This chapter focuses on the human body and how it falls out of Spinoza's physical picture in a natural way that it is a modification of something more fundamental. Spinoza's further view that the human mind is Substance's understanding of the universe when restricted to the human body implies that the mind, too, is a modification of something more basic, namely, Substance's thought. The appearance of a human body in Spinoza's plenum is merely the emergence of a new pattern of (...) motion and rest within Extension. The Aristotelian thesis that the real definition of a human being is rational animal may sound to us too “logical” or “formal” to count as a piece of natural philosophy, a piece of natural science. Spinoza's view that finite things depend on the invariant structure of some more basic order brings his natural philosophy much closer to ours than to Aristotelian natural philosophy. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply hisEthics and Economic Progressto problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public good” might (...) want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

In _Art Can Help_, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest (...) of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. Distributed for the Yale University Art Gallery. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies from several (...) disciplines. (shrink)

Discusses about selective engagement as the most desirable strategy for contemporary America, stating that it is the one that seeks to forestall dangers, not simply to react to them; that is politically viable; at home and abroad; and that protects US interests.

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for (...) categorizing the different ways pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

A picture lives by companionship.In Art as Experience, John Dewey is clear that art, like life, goes on in an environment—or, more emphatically, art, like life, goes on "not merely in it but because of it, through interaction with it.... The career and destiny of a living being are bound up with its interchange with its environment, not externally but in the most intimate way."2 Later, Dewey says: "The word 'esthetic' refers, as we have already noted, to experience as appreciative, (...) perceiving, and enjoying. It denotes the consumer's rather than the producer's standpoint.... As with cooking, overt skillful action is on the side of the cook who prepares, while taste is on the side of the... (shrink)

IN THE winter and spring of 1031,1 was invited to give a series of ten lectures at Harvard University. The subject chosen was the Philosophy of Art; the lectures are the origin of the present volume. The Lectureship was founded in memory of William James and I esteem it a great honor to have this book associated even indirectly with his distinguished name. It is a pleasure, also, te recall, in connection with the lectures, the unvarying kindness and hospitality of (...) my colleagues in the department of philosophy at Harvard. I am somewhat embarrassed in an effort to acknowledge indebtedness to other writers on the subject. Some aspects of it may be inferred from authors mentioned or quoted in the text. I have read on the subject for many years, however, more or less widely in English literature, somewhat less in French and still less in German, and I have absorbed much from sources which I cannot now directly recall. Moreover, my obligations to a number of writers are much greater than might be gathered from allusions to them in the volume itself. My indebtedness to those who have helped me directly can be more easily stated. Dr. Joseph Ratner gave me a number of valuable references. Dr. Meyer Schapiro was good enough to read the twelfth and thirteenth chapters and to make suggestions which I have freely adopted. Irwin Edman read a large part of the book in manuscript and I owe much to his suggestions and criticism. Sidney Hook read many of the chapters, and their present form is largely the result of discussions with him; this statement is especially true of the chapters on criticism and the last chapter. My greatest indebtedness is to Dr. A. C. Barnes. The chaptershave been gone over one by one with him, and yet what I owe to his comments and suggestions on this account is but a small measure of my debt. I have had the benefit of con versations with him through a period of years, many of which occurred in the presence of the unrivaled collection of pictures he has assembled. The influence of these conversations, together with that of his books, has been a chief factor in shapingmy own thinking about the philosophy of esthetics. Whatever is sound in this volume is due more than I can say to the great educational work carried on in the Barnes Foundation. That work is of a pioneer quality comparable to the best that has been done in any field during the present generation, that of science not ex cepted. I should be glad to think of this volume as one phase of the widespread influence the Foundation is exercising. I am indebted to the Barnes Foundation for permission to reproduce a number of illustrations and to Barbara and Willard Morgan for the photographs from which the reproductions were made. J. D. (shrink)

Prelude -- What moves as a body returns as a movement of thought -- Introduction: Events of relation : concepts in the making -- Incipient action : the dance of the not-yet -- The elasticity of the almost -- A mover's guide to standing still -- Taking the next step -- Dancing the technogenetic body -- Perceptions in folding -- Grace taking form : Marey's movement machines -- Animation's dance -- From biopolitics to the biogram, or, how Leni Riefenstahl moves (...) through fascism -- Of force fields and rhythm contours -- Relationscapes : how contemporary Aboriginal art moves beyond the map -- Constituting facts : Dorothy Napangardi dances the dreaming -- Cornering a beginning -- Conclusion: Propositions for thought in motion. (shrink)

Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (1997) lists the psychological (...) ''facts that any complete theory of consciousness must explain'' in his appendix to In the Theater of Consciousness; global workspace theory was designed to explain these ''facts.'' The present article discusses how the design of CMattie accounts for these facts and thereby the extent to which it implements global workspace theory. (shrink)

Abstract pictures are distinguished from depictive pictures in that no visibly recognizable objects can be seen in them. Abstract pictures are thus non-depictive and non-figurative. The question still remains, however, if abstract pictures can be representations. The aim of this chapter is to defend the view that abstract pictures can be representational and therefore have content or subject matter. It will be shown that there are at least three ways to understand what the subject matter (...) of abstract pictures can be: it is either abstracted from figurative content, it is spiritual or the subject matter is produced. (shrink)

Résultat d'une recherche sur les relations étroites entre la radiophonie, les arts plastiques et le cinéma, constituant ainsi une ébauche d'esthétique du son dans les arts visuels.

The increasing availability of passively observed data has yielded a growing interest in “data fusion” methods, which involve merging data from observational and experimental sources to draw causal conclusions. Such methods often require a precarious tradeoff between the unknown bias in the observational dataset and the often-large variance in the experimental dataset. We propose an alternative approach, which avoids this tradeoff: rather than using observational data for inference, we use it to design a more efficient experiment. We consider the case (...) of a stratified experiment with a binary outcome and suppose pilot estimates for the stratum potential outcome variances can be obtained from the observational study. We extend existing results to generate confidence sets for these variances, while accounting for the possibility of unmeasured confounding. Then, we pose the experimental design problem as a regret minimization problem subject to the constraints imposed by our confidence sets. We show that this problem can be converted into a concave maximization and solved using conventional methods. Finally, we demonstrate the practical utility of our methods using data from the Women’s Health Initiative. (shrink)