Artworks are attentional engines, or artifacts intentionally designed to direct attention to formal features that are diagnostic for their artistically salient aesthetic, expressive, and semantic content. This is nowhere more true than the movies. Moving pictures are constructed from a suite of formal and narrative devices carefully developed to capture, hold, and direct our attention. These devices are tools for developing content by controlling the way information is presented throughout the duration of our engagement with a movie. In this respect (...) moving pictures are analogous to visual routines used to direct and bias attention in natural behavior - they are artifacts used to deliver information on the fly as it is needed for the development of the narrative. This article reviews some of the fundamental devices movie makers use to discharge this function - such as variable framing and criterial prefocusing – and discusses their relation to our underlying cognitive, affective, and neurological architecture. These formal devices are designed to guide and control salient aspects of viewers behavioral responses to mass market movies. Therefore, we argue that it is no surprise to discover that that they are fine tuned to the architecture of emotion, perception, and cognition. (shrink)

It has been argued that motion picture theory, or as we prefer to call it theory of the moving image, is too abstract, generalized , or theoretical to be of use for movie makers and critics interested in the production and analysis of particular films. We apply the framework and resources of Cognitivist Film Theory to explain some of the particular ways that Alfred Hitchcock's Rear Window works to engage audiences with an eye to allaying the skeptics doubts.

In this paper William Carroll argues that the alleged conflict between creation and science has its origin in a mistaken comprehension of the meaning of “creation”and the extent of explication that natural sciences can offer. Carroll explains that creation, a metaphysical and theological notion, affirms that everything which exists depends on one single cause which is God. But, on the other side, the object of study of natural sciences is the realm of changing things. Whereas creation speaks (...) to the cause of existence itself, evolutionary biology, cosmology and other natural sciences focus on phenomena subject to change.In contrast, creation should not be understood as the change from nothingness to something, but as a theological and metaphysical dependence in the order of being. This does not mean, however, that the theological and metaphysical approaches are incompatible with those of natural sciences. (shrink)

Cornell College in Mount Vernon, Iowa, has established a new interdisciplinary program in science and religion. One of the features of this program is an undergraduate major in science and religion that requires substantial course work in at least one of the natural sciences as well as course work in philosophy, religion, and history. As a result of a grant from the John Templeton Foundation, Cornell College will offer a special course, God and Physics: From Aquinas to Quantum Mechanics (April (...) 1998), and will sponsor an international symposium on creation and contemporary cosmology (April 1999). Opportunities exist for interested scholars to come to Cornell as Templeton Visiting Fellows in order to participate in these activities. (shrink)

Social justice struggles are often framed around competing hegemonic and counter-hegemonic projects. This article compares several organizations of global civil society that have helped shape or have emerged within the changing political-economic landscape of neoliberal globalization, either as purveyors of ruling perspectives or as anti-systemic popular forums and activist groups. It interprets the dialectical relation between the two sides as a complex war of position to win new political space by assembling transnational historic blocs around divergent social visions – the (...) one centered on a logic of replication and passive revolution, the other centred on a logic of prefiguration and transformation. It presents a sociological analysis of the organizational forms and practical challenges that their respective hegemonic and counter-hegemonic projects entail. (shrink)

In his book Objects and Persons, Trenton Merricks has reoriented and fine-tuned an argument from the philosophy of mind to support a selective eliminativism about macroscopic objects.1 The argument turns on a rejection of systematic causal overdetermination and the conviction that microscopic things do the causal work that is attributed to a great many (though not all) macroscopic things. We will argue that Merricks’ argument fails to establish his selective eliminativism.

This extended, provocative, and extensively documented meditation addresses Vitruvius’ intention in producing the first treatise on architecture, the only one surviving from antiquity, which was dedicated to Caesar Augustus. McEwen argues that in assembling various preexisting fragments into a coherent whole and putting that whole into words to produce “the whole body of architecture,” Vitruvius is producing the counterpart to Augustus’ program, that of making a coherent unity from the spatial fragments of the world under Roman rule and from their (...) scattered peoples. Vitruvius explains how this architecture would serve, embody, and make visible the imperial program in the new and renewed cities and the fora, temples, and theaters prominent in them. (shrink)

The appendages of the adult fruit fly and other insects and Arthropods develop from secondary embryonic fields that form after the primary anterior/posterior and dorsal/ventral axes of the embryo have been determined. In Drosophila, the position and fate of the different fields formed within each segment are determined by genes acting along both embryonic axes, within individual segments, and within specific fields. Since the major architectural differences between most Arthropod classes and orders involve variations in the number, type and morphology (...) of body appendages, the elucidation of the embryology and molecular genetics of the origin and patterning of insect limb fields may help to facilitate an understanding of both the mechanism of appendage formation and some of the major steps in the morphological evolution of the Arthropods. In this review, we will discuss recent studies that have advanced our understanding of both the origin and patterning of Drosophila leg and wing secondary fields. These results provide fresh insights into potentially general mechanisms of how body parts develop and evolve. (shrink)

This book reflects the commitment of an academic lifetime to the study of infinity. Most of the essays gathered here have been published before, and, in keeping with the breadth and depth of Sweeney's erudition on the subject, they contain a wealth of information on primary and secondary sources in the history of infinity.

This book brings to light central topics that are neglected in current histories and theories of architecture and urbanism. It traces two models for the practice of architecture. One follows the ancient model in which the architect renders his service to serve the interests of others; it survives and is dominant in modernism. The other, first formulated in the fifteenth century by Leon Battista Alberti, has the architect use his talent in coordination with others to contribute to the common good (...) of a republican civil order that seeks to protect its own liberty and that of its citizens. It stresses the importance and urgency, of restoring traditional practices so that we can build just, beautiful, and sustainable cities and rural districts. (shrink)

The idea that choreographic movements communicate to audiences by kinetic transfer is a commonplace among choreographers, dancers, and dance educators.1 Moreover, most dance lovers can cite their own favorite examples—the bounciness of the Royal Danish Ballet, the stomping of Bharata Natyam performers, the stag leaps in the thundering Greek chorus in Martha Graham’s Night Journey, or the contagious rhythmic transfer that takes over our feet when we watch classic tap dancers like Buster Brown. The perceptual capacity for kinetic transfer was (...) succinctly identified and theorized by John Martin. He called this capacity metakinesis. Martin was influenced by Theodor Lipps’s earlier theory of empathy. Lipps introduced his notion of empathy as a way to characterize our muscular responses to the perceived internal dynamics of inanimate objects under stress and tension, for example, weight-bearing columns and cantilevered boulders. Martin argued analogously about dance. -/- In what follows, we explore and evaluate three general challenges to the existence and significance of kinetic transfer in dance: challenges to the very possibility of kinesthetic understanding in dance, questions about the relevance of kinetic transfer to explanations of artistic communication in dance, and concerns about the relevance of kinetic transfer to evaluative questions germane to dance appreciation. We do not subscribe to every aspect of Martin’s story. Nevertheless, we think that Martin was exceedingly prescient. His speculations appear to be supported by recent research in neuroscience and psychology.We feel as a result that Martin’s comments are highly suggestive of what might be going on in ordinary dance consumers (or at least moderately informed ones). Critically, however, we do not model these contributions in terms of a discrete, stand-alone kinesthetic sense as Martin did. Rather, we argue that metakinesis and kinetic transfer refer to a general crossmodal sensorimotor perceptual capacity that contributes to our understanding and experience of actions in everyday contexts. Nor do we claim that audiences recognize and understand dance solely on the basis of kinetic transfer. Rather, we argue that this sensorimotor capacity is a contributing factor in our perceptual engagement with dance works, one of a range of tools ready to hand to choreographers and dancers for conveying information critical to the content of their works. (shrink)

Given the renewed interest in Dionysian scholarship in the last decade, one wonders what new things can be said of the enigmatic figure known as "Pseudo-Dionysius the Areopagite." Rorem's book has much to add to the present state of scholarship. The author intends to present the treatises of the Areopagite--The Divine Names, The Mystical Theology, The Celestial Hierarchy, The Ecclesiastical Hierarchy, and The Epistles--as a coherent whole. He rightfully maintains that medieval readers often "ripped" their favorite material from the Dionysian (...) garment resulting in a patchwork unreflective of the whole. Accordingly, traditional interpretations of the corpus areopagiticum, to switch metaphors, often lost the forest for the trees. Rorem contends that the treatises' material unity results from Dionysius' pervasive concern for the symbols of the liturgy and of the Bible, whether in its names for God or in its descriptions of the angels. These symbols, as outlined in the Mystical Theology, are painted on the backdrop of the Neoplatonic notions of "Procession" and "Return." Hence: "Christian symbolism, whether ritual acts or scriptural language in general, is a divine self-revelation which proceeds 'down' into the human categories of thought and sense perception." This procession allows for a return which uplifts the faithful: initially, to a higher conceptual realm, through the negation and interpretation of all perceptual symbols; then, to the very Godhead, through the negation of all interpretations, all language, and even all thought. (shrink)

This teaching edition of Shakespeare’s Macbeth reprints the Bevington edition of the play accompanied by six sets of primary documents and illustrations thematically arranged to offer a richly textured understanding of early modern culture and Shakespeare’s work within that culture. The texts include facsimiles of period documents, excerpts from King James’s writings on politics, contemporary writings on the nature of kingship and tyrannicide, Puritan and Catholic tracts, conduct book literature, and contemporary witchcraft pamphlets.

The 1970s were marked by a resurgence of interest in the enigmatic figure known as Pseudo-Dionysius the Aeropagite. Yet the accessibility of his works, in readable and accurate translations, continues to be a problem. Jones's translation is therefore welcome.

This article discusses the common ground between William James and the tradition of philosophical anthropology. Recent commentators on this overlap have characterised philosophical anthropology as combining science (in particular biology and medicine) and Kantian teleology, for instance in Kant’s seminal definition of anthropology as being concerned with what the human being makes of itself, as distinct from what attributes it is given by nature. This article registers the tension between Kantian thinking, which reckons to ground experience in a priori (...) categories, and William James’s psychology, which begins and ends with experience. It explores overlap between James’s approach and the characteristic holism of 18th-century philosophical anthropology, which centres on the idea of understanding and analysing the human as a whole, and presents the main anthropological elements of James’s position, namely his antipathy to separation, his concerns about the binomial terms of traditional philosophy, his preference for experience over substances, his sense that this holist doctrine of experience shows a way out of sterile impasses, a preference for description over causation, and scepticism. It then goes on to register the common ground with key ideas in the work of anthropologists from around 1800, along with some references to anthropologists who come in James’s wake, in particular Max Scheler and Arnold Gehlen, in order to reconceptualise the connection between James’s ideas and the tradition of anthropological thinking in German letters since the late 18th-century, beyond its characterisation as a combination of scientific positivism and teleology. (shrink)

(Citation/Reference) Williams, S. H. Lewis Carroll handbook.

This book draws from anthropology, ancient history, theology, philosophy and the Holocaust to redefine architectural history for both architects and historians. It also contains ideas and practical propositions that should help sutdents of architecture to build a more human world.

I attempt a thorough delineation of hocking's multiangular argument, and historically trace its genis to sources in james and royce. i argue that royce's logic of triadic relations shows the james-hocking to be untenable, and that hocking's version of intersubjectivity must be taken as an expression of tacit or autobiographical knowledge.

I agree with Williams that evolutionary theory provides the best account of the pain expression. We may disagree as to whether pain has an emotional dimension or includes discrete basic emotions as integral components. I interpret basic emotion expressions that occur contemporaneously with pain expression as representing separate but highly interactive systems, each with distinct adaptive functions.