The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon Uder uber (...) die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Giorgio Agamben, a philosopher both celebrated and reviled, is among the prominent voices in contemporary Italian thought today. His work, which touches upon fields as diverse as aesthetics and biopolitics, is often understood within a framework of Aristotelian potentiality. With this incisive critique, Doussan identifies a different tendency in the philosopher's work, an engagement with the problem of time that is inextricably bound up with language and visuality. Founded in his early writings on metaphysics and continuing to his present (...) occupation with inoperativity, Time, Language and Visuality in Agamben's Philosophy forges an original path through Agamben's extensive commentary on the linguistic and the visual to illuminate the recurrent temporal theme of capture and evasion the cat-and-mouse game that bears the foundational violence of not just representation but concept-formation itself. In the process, Doussan both reveals its limit and establishes a ground for future engagements. (shrink)

Outlining an original philosophical argument on the place of visuality in Levinas' ethics, Kenaan looks at the concepts of his work and articulates his vision of 'otherness' together with the visual tropes of the human face as symbolic of alterity and transcendence.

By focusing on Chinese cultural formations and critical discourses of the last decade of the century, the author dissects the intellectual, economic, and political contradictions of a turbulent era. This wide-ranging, deeply interdisciplinary work demarcates the cultural terrain by examining diverse media: film, television, avant-garde art, and literature, as well as critical theory and intellectual history.

This paper is about the specific character of the aesthetic experience of icons. I am arguing for the idea that the aesthetic experience of icons is a necessary condition of their role and function in Christian worship, and, moreover, that this particular aesthetic experience is of an apophatic kind. My arguments will be developed on the background of the Byzantine iconoclastic debate and the apophatic theology of Pseudo-Dionysius the Areopagite. Also, they should present the very debate from the perspective of (...) aesthetics, often overlooked in favour of more theological or ontological issues related to it. (shrink)

This book engages with the question of making sense of seeing in today’s technologically dominated world. It does so by exploring the notion of the ‘hypermodern’, a term which is used to capture the drive in contemporary culture to achieve ever greater speed and efficiency.

In this paper, I take up the conciliatory-steadfast debate occurring within social epistemology in regards to the phenomenon of peer disagreement. I will argue, because the conciliatory perspective al-lows us to understand argumentation pragmatically—as a method of problem-solving within a community rather than as a method for obtaining the truth—that in most cases, we should not simply agree to disagree.

This article examines a small subset of late antique veil imagery – depictions and descriptions of veils in motion – in visual and literary sources including churches, synagogues, and descriptions of the veil of the temple in Jerusalem. Architectural veils played a role in the demarcation of space, the creation of spectacle and sacrality, and the orchestration of social relations and hierarchies. By exploring the ways in which late ancient subjects envisioned, encountered, and “thought with” veils, we can chart the (...) ways that dynamics of covering and uncovering, sight and secrecy, and vision and touch, converged with ideas about gender, desire, and the sacred. (shrink)

This paper attempts to delineate the relation of early Chinese views on vision and visuality to nascent reflections on painting arising in the Early Medieval period. Ever since that time, pictorial creativity has been associated with Buddhist ideas of spiritual perfection. Likewise, the Early Medieval concern for the visualization of spiritual journeys to exceptional humans (and superhumans) through imaginary landscapes seems to be of Buddhist origin. The first part of this paper gives a short sketch of the intellectual landscape (...) in which theorizing on painting since the 5th century CE first arose. The main body of the study, consisting of parts two through five, close readings of pre-Buddhist texts on vision and imagination. From these exploratory investigations it emerges that the very terms that are key in early reflections on painting such as ‘spirit’ (shen神), ‘perspicacity’ (ming明), but also ‘imagination’ (xiang想) and ‘symbol’ (xiang象) are closely related to a specific conception of seeing and visuality which is manifest in these texts. A final part sketches the possible relevance of these observations in early and pre-imperial sources for the interpretation of Chinese theories on painting. It emerges that while the rising interest in imagination since the Eastern Jin period is indeed an innovation inspired by Buddhism, the extraordinary role of the notion of ‘spirit’ in reflections about painting is closely related to earlier autochthonous traditions. The appeal to specifically Buddhist notions such as thesamādhiof free play in texts on pictorial production and contemplation appears to be of a secondary character. It seems to be mediated by the inclusion of the very word ‘spirit’ (shen) into Chinese renderings of technical Buddhist terms related to meditation, which resulted in the implicit association of this specialist vocabulary with inherited conceptions of spirit as a luminous force animating, inspiring and enlightening things, in both quite a literal and in a rather metaphorical sense. (shrink)

Didi-Huberman conceptualizes images as unstable and incongruent events in disagreement with the art historiographic discourses that reduce visuality to the contents of representation. I analyze the link between Freud’s dream-theory and Didi-Huberman’s philosophy of images, focusing on the notion of dreams and images as instance of rising against repression and erasure. Didi-Huberman does not simply “apply” psychoanalysis to disrupt the dominant art historiography; his interpretation of the dream book speaks to his originality as a reader of Freud who brings (...) to the fore the importance of visual categories in psychoanalysis. Viewing images as disunified and “rent” has also political implications. The name of this power in Didi-Huberman’s project is anadyomene ; the imaginal rhythm of pendular dialectical movement between appearance and disappearance. I discuss Didi-Huberman’s analyses of photographs of camps and ghettos, and of uprisings, which highlight the link between the imaginal unconscious and aesthetics of anadyomene, and political subjectivization and resistance. (shrink)

The issue of shifting scales between the microscopic and the macroscopic dimensions is a recurrent one in the history of science, and in particular the history of microscopy. But it took on new dimensions in the context of early twentieth-century microscophysics, with the progressive realisation that the physical laws governing the macroscopic world were not always adequate for describing the sub-microscopic one. The paper focuses on the researches of Jean Perrin in the 1900s, in particular his use of Brownian motion (...) to produce evidence of the existence of atoms and in favour of the kinetic theory. His results were described by many contemporaries, and subsequently by historians, as the first direct proof of atomic and molecular reality. The paper examines the different strategies developed by Perrin for bridging the macro and sub-microphysical realms and making the latter accessible to the senses; even though neither atoms nor molecules were ever actually seen, and in fact very few visual representations were shown and published in connection with these experiments. This case provides a good example of how visualizing, representing and convincing could be interwoven in the production of evidence about the sub-microphysical realm circa 1900.Keywords: Jean Perrin; Brownian motion; Ultramicroscope; Evidence; Atom; Atomism. (shrink)

A commentary on Whitney Davis's essay 'Visuality and Vision: Questions for a Post-culturalist Art History' published in the same issue of Estetika.

A new line of self projection magazines that started blooming in Lagos, Nigeria, about the mid-1990s defined itself by filling almost completely every issue with photographs that depict politicians, businesspeople, sports and show business stars enjoying fruits of their extraordinary achievements on festive occasions. The magazine’s cozy coverage of the rich and famous irks a lot of serious cultural and literary critics who believe that this style resembles praise singing too closely. This paper, unlike mainline criticisms of the pictorial magazines, (...) takes praise singing to be a serious subject. Its central proposition is that the Nigerian magazine culture embraced these magazines because they have successfully translated into photography the panegyric tendency that pervades popular, self-projection arts in the underlying Yorùbá cultural environment of southwestern Nigeria. The sub-genre of Yorùbá panegyric that the magazines rework into the photographic medium is oríkì bọ̀rọ̀kìnní, or praise chants of the eminent. The paper analyzes sample issues of Ovation magazine to outline ways of placing contemporary African cultural forms in a long perspective and to propose an example of how inter-mediality operates today in popular cultures. In the concluding section, the essay proposes that a “poetic” understanding of photography, as opposed to “theatricality” and or melancholic substitution, represents the best way to think about the type of festive portraiture practiced in Ovationand its imitators. (shrink)

Images of brains circulate today as rationales for decision-making and selectivity in policies, curriculum, preservice teacher education and inservice professional development. The excitement over brain-based research, its visual reach and authorizing role accompanies longstanding debates in which the status attributed to biology, physiology and allied psychological approaches has been considered prejudicial. This article traces a series of dislocations in the linkages forged between discourses of vision and epistemic authorization, and how they still inhere in contemporary debates over brain imaging. The (...) critical history that the article offers within the general framework of Visual science and technology studies requires questioning some of the core tenets of visual culture, including what gets to count as the visual, ‘its’ role in legitimation, and the primacy assigned to looking and observation as strategies of truth-production. (shrink)

The primary focus of this article is a reading of Venus Hottentot 2000, a performance-text that reperforms the hyperbolization of Black female sexuality. In using the corporeality of the Black body as a strategic site of postcolonial resignification, this performance is moreover an interrogation of the colonial gaze that has fetishized the Black body. In foregrounding Venus Hottentot 2000 as a point of departure for exploration, the article proceeds by delving broadly into the representational history of the ‘Hottentot’ female. Furthermore, (...) to facilitate an understanding of the constitutive power of the colonial gaze and the possibilities of subverting and displacing that gaze from that of a postcolonial diasporic aesthetic practice, the article frames the postcolonial feminist reading of Venus Hottentot 2000 via an investigation of the processes by which the ‘Hottentot’ female has been festishized and scopically objectified within colonial discourse - processes whereby the ‘Hottentot’ female became a signifier of Black female sexuality. The article concludes by reading this performance as an example of a postcolonial ‘cultural war of positioning’, which offers moreover a contemporary rescripting of Black subjectivity. (shrink)

This article examines the relation between the biblical Word and visuality in one of the surviving early thirteenth century manuscripts of the Bible moraliseé, the codex Vindobonensis 2554 today housed in Vienna. The analysis focuses specifically on the relations between word and visuality. The goal is to investigate the vitality that may set the Word into motion. It is argued that the matrix of textual visuality in the Vienna codex 2554 is used as an effective tool that (...) adds vitality to the biblical passages while simultaneously creating a firm hierarchy of representation and resemblances that enforces not only certain norms but also a particular world order in 13th century French society. (shrink)

The article will be divided into three parts: 1. Explain the literary origins of the nesting pattern and its relationship to cinema narrative, and analyse the nesting tactics commonly used in films under Hollywood’s classical narrative. 2. Describe the variations in nested structures in films made in the 1990s, focusing on self-reflexive nesting, which emerged as a new model beyond conventional nesting during this period. 3. Distinguish the literary style of embedded narratives from the visual recognition mode and provide an (...) example of how the latter is used in films to create impossible puzzles. (shrink)

Looking out of the window of a speeding car, receiving photographs of Earth from outer space, watching the flickering images of the TV screen, scrolling through a text, zooming in on a location in Google Earth, or sending images via mobile ...

As digital technologies are integrated into medical environments, they continue to transform the experience of contemporary health care. Importantly, medicine is increasingly visual. In the history of sonography, visibility has played an important role in accessing fetal bodies for diagnostic and entertainment purposes. With the advent of three-dimensional rendering, sonography presents the fetus visually as already a child. The aesthetics of this process and the resulting imagery, made possible in digital networks, discloses important changes in the relationship between technology and (...) biology, reproductive health and political debates, and biotechnology and culture. (shrink)

The two contrasting theoretical approaches to visual perception, the constructivist and the ecological, are briefly presented and illustrated through their analyses of space and size perception. Earlier calls for their reconciliation and unification are reviewed. Neurophysiological, neuropsychological, and psychophysical evidence for the existence of two quite distinct visual systems, the ventral and the dorsal, is presented. These two perceptual systems differ in their functions; the ventral system's central function is that of identification, while the dorsal system is mainly engaged in (...) the visual control of motor behavior. The strong parallels between the ecological approach and the functioning of the dorsal system, and between the constructivist approach and the functioning of the ventral system are noted. It is also shown that the experimental paradigms used by the proponents of these two approaches match the functions of the respective visual systems. A dual-process approach to visual perception emerges from this analysis, with the ecological-dorsal process transpiring mainly without conscious awareness, while the constructivist-ventral process is normally conscious. Some implications of this dual-process approach to visual-perceptual phenomena are presented, with emphasis on space perception. Key Words: constructivist; dual-process approach; ecological; size perception; space perception; two visual systems; visual perception theories. (shrink)

I propose a new argument showing that conscious vision sometimes depends constitutively on conscious attention. I criticise traditional arguments for this constitutive connection, on the basis that they fail adequately to dissociate evidence about visual consciousness from evidence about attention. On the same basis, I criticise Ned Block's recent counterargument that conscious vision is independent of one sort of attention (‘cognitive access'). Block appears to achieve the dissociation only because he underestimates the indeterminacy of visual consciousness. I then appeal to (...) empirical work on the interaction between visual indeterminacy and attention, to argue for the constitutive connection. (shrink)

Everyday visual experience constantly confronts us with things we can interact with in the real world. We literally feel the outside presence of physical objects in our environment via visual perceptual experience. The visual feeling of presence is a crucial feature of vision that is largely unexplored in the philosophy of perception, and poorly debated in vision neuroscience. The aim of this article is to investigate the feeling of presence. I suggest that visual feeling of presence depends on the visual (...) representation of a very particular spatial relation with the object we interact with: the visual representation of absolute egocentric depth, which is due to stereoscopic vision. (shrink)

It has long been known that memory need not be a literal reproduction of the past but may be a constructive process. To say that memory is a constructive process is to say that the encoded content may differ from the retrieved content. At the same time, memory is bound by the authenticity constraint which states that the memory content must be true to the subject's original perception of reality. This paper addresses the question of how the constructive nature of (...) visual memory can be reconciled with the authenticity constraint. In what respect and to what extent may the content of a visual memory differ from the original perceptual state while still adequately reflecting the subject's original perception? (shrink)

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act (...) that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation. (shrink)

According to so-called “thin” views about the content of experience, we can only visually experience low-level features such as colour, shape, texture or motion. According to so-called “rich” views, we can also visually experience some high-level properties, such as being a pine tree or being threatening. One of the standard objections against rich views is that high-level properties can only be represented at the level of judgment. In this paper, I first challenge this objection by relying on some recent studies (...) in social vision. Secondly, I tackle a different but related issue, namely, the idea that, if the content of experience is rich, then perception is cognitively penetrable. Against this thesis, I argue that the very same criteria that help us vindicate the truly sensory nature of our rich experiences speak against their being cognitively penetrable. (shrink)