Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among (...) philosophical and anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women. (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” (...) in which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further (...) developed, then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space. (shrink)

In the pages that follow I looked closely at two major paintings by Gustave Courbet : the After Dinner at Ornans, perhaps begun in the small town of the title but certainly completed in Paris during the winter of 1848-49; and the Stonebreakers, painted wholly in Ornans just under a year later. The After Dinner and the Stonebreakers are the first in a series of large multifigure compositions--others are the Burial at Ornans and the Peasants of Flagey Returning from the (...) Fair —that mark not only Courbet's maturity as an artist but his emergence as a disruptive force, almost a one-man wrecking crew, in the cultural politics of his time. They are also those works in which his self-declared identity as a Realist first becomes manifest, and probably the chief concern of the most interesting recent scholarship on Courbet has been to try to decode that epithet in social-historical terms, or at any rate to situate his activity as a painter during the years 1848-55 in the context of the social and political struggles that accompanied the creation of the Second Republic and its subversion by Louis Bonaparte.2 At the core of that tradition, motivating and, as it were, mobilizing it, is the demand that the painter succeed in placing in abeyance the primordial convention that paintings are made to be beheld—that he contrive in one way or another to establish the fiction, the meta-illusion, that the beholder does not exist, that there is no one standing before the picture. From Greuze through Gèricault, this was chiefly to be accomplished in and through the medium of visual drama, that is, by representing figures so deeply absorbed in their actions, emotions, and states of mind and furthermore so efficaciously bound together in a single comprehensive dramatic situation that they would strike one as absolutely immured in the world of the painting and a fortiori as oblivious to the very possibility of being viewed. And one way of describing the crisis that I believe overtook French painting by the 1820s and '30s is to say that the dramatic as such came more and more to be revealed as inescapably theatrical—that the array of conventions that once had served to establish the meta-illusion of the beholder's nonexistence now seemed merely to attest to his controlling presence.1. The present essay is adapted from a book-length study, in progress, of Courbet's art. Recent books and articles emphasizing social and political considerations include Linda Nochlin, Gustave Courbet: A Study of Style and Society ; T.J. Clark, "A Bourgeois Dance of Death: Max Buchon on Courbet," Burlington Magazine 111 : 208-12, 282-89, and Image of the People: Gustave Courbet and the Second French Republic, 1848-51 ; Jack LIndsay, Gustave Courbet: His Life and Art ; Klaus Herding, ed., Realismus als Widerspruch: Die Wirklichkeit in Courbets Malerei ; Herding, "Les Lutteurs 'détestables': Critique de style, critique sociale," Histoire et critique de l'art 4-5 : 94-122; and James Henry Rubin, Realism and Social Vision in Courbet and Proudhon .2. For an account of the early evolution of that tradition, see my Absorption and Theatricality: Painting and Beholder in the Age of Diderot , as well as the essays on Courbet cited in n. 3.Michael Fried, professor of humanities and the history of art at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Courbet. (shrink)

For centuries, the British royal family has been the subject of books, articles, broadcast media, and digital communication. The addition of social media platforms has further increased the attention of the royals. Each of the family’s official social media sites have large numbers of followers around the world. The present study uses Goffman’s Presentation of Self to qualitatively examine how the current British royal family portrays itself visually via its official Instagram account. An analysis of two years of (...) posts on the social platform provides a glimpse of how the family works to maintain its image through a highly popular social media platform. Results indicated the presence of three main themes: Queen as the Head of the Monarchy, Honoring the Past, and The Working Royalty. This study offers a means of understanding the importance of visuals in conveying the royal family. (shrink)

Manuscripts and notes by Michel Foucault on the visual arts recently deposited at the Bibliothèque Nationale reveal a reliance on canonical oil paintings by the ‘old masters’; a respect for the primary sources in the history of European art; an understanding of the necessity of research in both literary and visual sources, particularly self-portraits; and a sense of the value that a certain philosophical milieu – beginning with Sade and Nietzsche and expanding to his near contemporaries, Bataille, (...) Blanchot, and Klossowski – could offer to an understanding of paintings. The essay argues that Pierre Klossowski’s monumental drawing La Nef des fous (1990) provides an essential key for understanding the place of Hieronymus Bosch’s painting of the same title in History of Madness and the centrality of theories of similitude to Foucault’s thinking about visuality ca. 1960–74. The later significance of the figure of the artist for Foucault can be traced to these earlier writings on painting and madness. (shrink)

This paper presents a review of studies that were aimed at determining which brain regions are recruited during visual self-recognition, with a particular focus on self-face recognition. A complex bilateral network, involving frontal, parietal and occipital areas, appears to be associated with self-face recognition, with a particularly high implication of the right hemisphere. Results indicate that it remains difficult to determine which specific cognitive operation is reflected by each recruited brain area, in part due to the (...) variability of used control stimuli and experimental tasks. A synthesis of the interpretations provided by previous studies is presented. The relevance of using self-recognition as an indicator of self-awareness is discussed. We argue that a major aim of future research in the field should be to identify more clearly the cognitive operations induced by the perception of the self-face, and search for dissociations between neural correlates and cognitive components. (shrink)

In this essay I hope to make some new contributions to the philosophical opening occasioned by John Sallis’ articulation of an “elementology” more broadly and by his turn to Guo Xi’s exquisite Song Dynasty shan-shui scroll painting, Early Spring more particularly. I do so by bringing the remarkable writings by the American poet and thinker Gary Snyder, especially in relationship to his reading of the great Kamakura Zen Master Eihei Dōgen, directly into the fray of contemporary Continental discourses on (...) the elemental and the ecological. At the heart of this project is Snyder’s development of Dōgen’s elemental discourse of “mountains, rivers, and the great earth.” Like Sallis’ own efforts to recast language into a more elemental discourse, this essay will also focus on the manners of speaking specific to the philosophical and poetic self-presentation of the elements, including the relationship between the philosophical and the artistic as such. (shrink)

This article delves into the intricacies of casta paintings, particularly focusing on the anonymous eighteenth-century work, Las Castas, produced in Mexico. Las Castas serves as a testimony to the complexities of colonial racialized subjectivity. More precisely, Las Castas presents us with a depiction of mestizaje as a rigid system of social stratification, with black individuals occupying a predetermined and inescapable role. The article introduces the irreversibility thesis, challenging prevailing notions of the race mixing process (mestizaje) in colonial Latin America, and (...) asserting that being of black descent, contrary to being of indigenous and Spaniard descent (mestizo), was considered an irreversible stain determining one’s social position within the mestizaje process. This article explores the genre of casta paintings as a colonial artifact and highlights the complexities inherent in colonial subjectivity through a taxonomic visual epistemology lens. (shrink)

ABSTRACT This article is written in the field of the philosophy of science. The aim is to express how painting and drawing can be used as part of a phenomenological research method. The painter or drawer is a visual researcher in the process of capturing a holistic and truthful experience of a cultural phenomenon. We will highlight the visual researcher process and how the experience of truth is known throughout this process. The paining and sketches, which we (...) present in this article, are part of a book, together with written narratives and pedagogical theory – on teaching as a phenomenon – called Lærerpraksis og Pedagogisk teori. The paintings and drawings present teaching in a way that complements and expands the written text. The sketches and painting of teaching attempt to establish the truth as unconcealment of a phenomenon. Our argumentation is based on the theories of Gadamer, Cassirer, Panofsky and Heidegger. Gadamer connects humanistic research with artistry and the experience of truth. Cassirer argues that the perception of a cultural phenomenon begins as a holistic understanding to bring forth the symbolic form or essence of the phenomenon. Panofsky transfers the theory of Cassirer into the field of painting. The concept of synthetic intuition is the intrinsic knowing of a painting, which corresponds to Cassirer’s concept of symbolic forms. Heidegger’s theory explores how art unfolds and preserves the truth. We will argue that the connection between art and truth could bring forth important perspectives on phenomenological science and turn the research activity closer to an artistic form. (shrink)

In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself (...) blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing with another. Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. _Memoirs of the Blind_ is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's _Lettres sur les aveugles_, the notion of mnemonic art in Baudelaire's _The Painter of Modern _ _Life_, and Merleau-Ponty's _The Visible and the _ _Invisible_. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, _Memoirs of the Blind_ extends and deepens the meditation on vision and painting presented in _Truth and _ _Painting_. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement (...) to make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

This may be an especially favorable moment in intellectual history to come to some understanding of notions like “abstraction” and “the abstract,” if only because these terms seem so clearly obsolete, even antiquated, at the present time. The obsolescence of abstraction is exemplified most vividly by its centrality in a period of cultural history that is widely perceived as being just behind us, the period of modernism, ranging roughly from the beginning of the twentieth century to the aftermath of the (...) Second World War.1art is now a familiar feature of our cultural landscape; it has become a monument to an era that is passing from living memory into history. The experiments of cubism and abstract expressionism are no longer “experimental” or shocking: abstraction has not been associated with the artistic avant-garde for at least a quarter of a century, and its central masterpieces are now firmly entrenched in the tradition of Western painting and safely canonized in our greatest museums. That does not mean that there will be no more abstract paintings, or that the tradition is dead; on the contrary, the obsolescence we are contemplating is in a very precise sense the precondition for abstraction’s survival as a tradition that resists any possible assault from an avant-garde. Indeed, the abstract probably has more institutional and cultural power as a rearguard tradition than it ever did as an avant-garde overturning of tradition. For that very reason its self-representations need to be questioned more closely than ever, especially its account of its own nature and history. This seems important, not just to set the record straight about what abstract art was, but to enable critical and artistic experimentation in the present, and a more nuanced account of both pre-and postmodern at, both of which are in danger of being swallowed up by the formulas of abstract formalism. If art and criticism are to continue to play an oppositional and interventionist role in our time, passive acceptance and reproduction of a powerful cultural tradition like abstract art will simply not do. 1. I define modernism and “the age of abstraction” here in familiar art historical terms, as a period extending from Kandinsky and Malevich to Jasper Johns and Morris Louis. There are other views of this matter which would trace modernism back to the emergence of an avant-garde in the 1840s , or to romanticism , or to the eighteenth century . My claim would be that “the abstract” as such only becomes a definitive slogan for modernism with the emergence of abstract painting around 1900. W. J. T. Mitchell, editor of Critical Inquiry, is professor of English and a member of the Committee on Art and Design at the University of Chicago. His most recent book is Iconology: Image, Text, Ideology. (shrink)

The role of titles in perception of visual art is a topic of interesting discussions that brings together artists, curators, and researchers. Titles provide contextual cues and guide perception. They can be particularly useful when paintings include semantic violations that make them challenging for viewers, especially viewers lacking expert knowledge. The aim of this study is to investigate the effects of titles and semantic violations on eye movements. A total of 127 participants without expertise in visual art viewed (...) 40 paintings with and without semantic violations in one of three conditions: untitled, consistent titles and inconsistent titles. After each painting was viewed participants also rated liking and understanding. Our results suggest that titles affect the way paintings are viewed: both titled conditions were associated with shorter first fixation duration, longer saccade durations, and amplitudes and higher dynamic entropy than the untitled conditions. Titles were fixated on more frequently when presented alongside paintings with semantic violations than paintings without violations, and the percentage of fixations to titles was particularly high in the case of paintings with double inconsistencies. Also, we found that semantic violations attracted attention early on, whereas titles received attention later and inconsistencies in titles were processed even later. Finally, semantic violations were associated with higher dynamic entropy than paintings without violations. Our results demonstrate the importance of titles for processing of artworks, especially artworks that present a challenge for the viewers. (shrink)

This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing (...) class='Hi'>self-image reaches a certain perfection. Following the evolution of this kind of projections and reproductions of the self-image, it is found that there is an obvious tendency by which the individual tends to free himself from certain patterns, or rather canons, which a certain epoch imposes. This process manifested in the visual arts corresponds to a new philosophical perception of man opened by the works of Ficino and Pico della Mirandola. The assertion of a new type of dignity, correlated with the idea of the microcosm, of the Renaissance man will lead to an affirmation of his own personality and especially to an increase of the will to power reflected more and more in the works of art. With the resurgence of the Italian renaissance, artists and philosophers experienced a decline, but found a favorable space for their development at the court of Elizabeth I, Queen of England. The art of portraiture, but also the philosophy of renaissance survives and is even more flourishing at the court of this queen. But the most important moment of this renaissance is marked by Dutch art after its liberation from Spanish rule. From this moment on, the emancipation of the individual will occur on an unimaginable scale until then. (shrink)

The present paper is divided into two parts. Part one is an attempt to reconstruct the semiotic models of Freudian-Lacanian psychoanalysis, in which conceptsfrom De Saussure, C. S. Peirce, Jakobson, Lotman, Eco are drawn for mutual illumination and synthesis. Psychoanalytic semiotics is considered a particular areaand discipline in semiotics, aiming at the unconscious dimension of the subject. Lacan could be considered a post-structuralist revision and extension of Freud. Part two is an application of psychoanalytic semiotics to the interpretation of dream (...) painting, focusing on the Dali example. Essential issues in psychoanalytic semiotics of dream painting are explored in the Dali example, such as dream indexes, dream mechanisms, self-portraits as imago and icon, and psychoanalytic Nirvana as a recovery and memory of a non-alienated subject. My reading of Dali demonstrates the possibility of a convergence of semiotics, psychoanalysis, and art criticism. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and (...) significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

The visual arts operated as a touchstone for French philosopher Jean-François Lyotard, influencing his thinking on everything from epistemology to politics. Building on the recent publication of a bilingual, six-volume edition of his writings on contemporary art and artists, this special issue of_ Cultural Politics_ provides a focus on Lyotard’s aesthetics. The issue includes a review of Lyotard’s writings on art, a discussion of his early figural aesthetics, and an essay on Lyotard’s little-known work, _Pacific Wall_, as well as (...) two essays on Lyotard and music. Two previously untranslated works by Lyotard himself are also featured: the influential article “Argumentation and Presentation: The Crisis of Foundations” and the interview “What to Paint?,” given at the time of the publication of the book of the same name. Painter Leon Phillips, whose work embodies many of the attributes of painting that were most important to Lyotard, is the featured artist for the issue. Throughout, the contributors argue for the primary importance of aesthetics in understanding Lyotard’s thought. Peter W. Milne is Assistant Professor in the Department of Aesthetics at Seoul National University. (shrink)

This study is devoted to the artistic and stylistic analysis of traditional Chinese New Year's pictures called "puhui nianhua" on the example of historical and documentary material collected in the city of Gaomi in Shandong province. It traces the changes in its form and content, the means of expression used during the five-hundred-year history of its distribution in China. The subject of attention is the development of Chinese splint pictures from the Ming Dynasty to the present. As an object, we (...) see the transformation of technological and visual features of the performance of such works within their individual varieties, which were popular in the creative activities of several generations of masters of the city of Gaomi. The purpose of the study is to get a general idea of how the main varieties of "puhui nianhua" were born and formed in the creative activity of Gaoming artisan artists. By means of artistic-stylistic, iconographic and comparative-historical analysis, the author identifies several stages in the process of formation of the tradition of making such pictures. Moreover, a typological series of Chinese New Year's splints is proposed, consisting of images of Lao and Buddhist saints, visualizations of homophonic metaphors, and a description of Chinese life. Each of the presented types differs not only in the originality of the content, but also in the set of compositional and visual means used by the authors. (shrink)

To evoke the impression of movement in the “immobile” image is one of the central motivations of the visual art, and the activating effect of images has been discussed in art psychology already some hundred years ago. However, this topic has up to now been largely neglected by the researchers in cognitive psychology and neuroscience. This study investigates – from an interdisciplinary perspective – the formation of lateralised instances of motion when an observer perceives movement in an image. A (...) first step was to identify images that evoke a perception of movement in a certain direction and to give this a rating. Reaction times leading to the engagement of a joystick following the presentation of images are used to evidence the postulated movement occasioned by the perception of movement in an image. Where the required direction of joystick moves matched the expected perception of movement direction in the image, considerably shorter reaction times were recorded. The experiment was able to prove a “movement-image compatibility effect” in observers of images. Based on this, the paper revisits and brings up to date the theses on motor sensory response to images which were developed in art psychology at the beginning of the 20th century. It furthermore contributes an embodiment theory interpretation to the prevalent representational explanation of compatibility effects. (shrink)

In this paper, I argue against views that equate privacy with control over self-presentation and explore some of the implications of my criticism for the online world. In section 1, I analyze the relationship between control over self-presentation and privacy and argue that, while they are both tightly connected, they are not one and the same thing. Distinguishing between control over self-presentation and privacy has important practical implications for the online world. In section 2, (...) I investigate self-presentation online and argue that, while there might be an illusion that one can self-present on one’s own terms online, that mirage often reveals itself as unrealistic because of external and internal constraints. I further argue that what is most noteworthy about self-presentation online, in contrast to self-presentation offline, is the pressure to be on display at all times. In section 3, I argue that to combat some of the negative trends we are witnessing online we need, on the one hand, to cultivate a culture of privacy, in contrast to a culture of exposure. On the other hand, we need to readjust how we understand self-presentation online. I argue that in some cases we should understand it in similar terms to how we understand advertisement or fiction. By changing our conventions online, we would be taking away some of people’s control over self-presentation by not taking their online personae at face value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being a (...) case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been concerned with links (...) between Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right. (shrink)

Adam Pautz (Pautz, Nanay (ed), Current Controversies in philosophy of perception, Routledge, New York and London, 2017, Pautz, Philosophical Issues 30:257–272, 2020 ) coined the phrase “the Laws of Appearance” for some underappreciated features of perceptual experience. Pautz suggests that the modal status of the Laws presents a puzzle: it is problematic to regard them as necessary, and also problematic to regard them as contingent. This paper presents possible counterexamples to the laws, suggesting that they are contingent as originally stated (...) (Sect. 1 ). But the laws are readily modified so as to express constitutive features of normal human visual experience, and thus understood they are metaphysically necessary (Sect. 2 ). Analogous pictorial laws govern representational painting, and these can be explained by appealing to the representational format of the medium (Sect. 3 ). This invites the question whether there might be format-based explanations of the Laws of Appearance. If so, can the contingency of the format facts be squared with the necessity of the Laws? The paper answers “Yes” to both questions (Sect. 4 ). (shrink)

Narratives are an integral part of human expression. In the graphic form, they range from cave paintings to Egyptian hieroglyphics, from the Bayeux Tapestry to modern day comic books (Kunzle, 1973; McCloud, 1993). Yet not much research has addressed the structure and comprehension of narrative images, for example, how do people create meaning out of sequential images? This piece helps fill the gap by presenting a theory of Narrative Grammar. We describe the basic narrative categories and their relationship to a (...) canonical narrative arc, followed by a discussion of complex structures that extend beyond the canonical schema. This demands that the canonical arc be reconsidered as a generative schema whereby any narrative category can be expanded into a node in a tree structure. Narrative “pacing” is interpreted as a reflection of various patterns of this embedding: conjunction, left-branching trees, center-embedded constituencies, and others. Following this, diagnostic methods are proposed for testing narrative categories and constituency. Finally, we outline the applicability of this theory beyond sequential images, such as to film and verbal discourse, and compare this theory with previous approaches to narrative and discourse. (shrink)

The present study was designed to investigate visually handicapped students' explanations for failure when the motive to maintain or enhance self-esteem was in conflict with the motive to present a favorable social image. Subjects experienced manipulated failure in a text comprehension task and were subsequently asked to give causal and responsibility attributions in the presence of either a visually handicapped or a non-handicapped experimenter. It was expected that visually disabled participants would claim a “handicap-bonus” from the non-handicapped experimenter by (...) explicitly presenting non-defensive attributions and accounts as well as handicap-related responses, while defensive explanations should be more pronounced when faced with a blind experimenter. The data provide support for the existence of presumed social expectations as determinants of individuals' verbal self-presentations. (shrink)

Chisholm held that some states of ourselves are self-presenting and provide a stopping place in the quest for justification. The justification we have for accepting that we are in those states is transparent to us in a way that enables us to answer questions about justification. Representation enables us to apprehend such self-presenting states through themselves in a representational loop. It is a loop of exemplarization wherein the state is used as an exemplar to represent the kind of (...) state it is. The result is that the representation of the state provides the subject with a kind of representation that loops back onto itself escaping the bondage of stratified mentality. This form of representation by exemplarization is shown to resolve problems and paradoxes concerning subjectivity, consciousness and the self raised by the writings of Hume, Kierkegaard, Ferrier, Sartre and Frank Jackson. (shrink)

Three priming experiments were conducted to determine how information about the self from different sensory modalities/cognitive domains affects self-face recognition. Being exposed to your body odor, seeing your name, and hearing your name all facilitated self-face recognition in a reaction time task. No similar cross-modal facilitation was found among stimuli from familiar or novel individuals. The finding of a left-hand advantage for self-face recognition was replicated when no primes were presented. These data, along with other recent (...) results suggest the brain processes/represents information about the self in highly integrated ways. (shrink)

I discuss, in the first part, Chisholm's definition of the self-presenting. I argue that the psychological pre-conditions that Chisholm imposes on his epistemic notions cause difficulties for the definition and suggest that there may be a further difficulty when one considers the definition in the light of what Chisholm says about the KK principle. I try, in the second part, to elucidate the relation that a person has to propositions that are self-presenting to him, and I consider Chisholm's (...) views on the same matter. (shrink)

I discuss, in the first part, Chisholm's definition of the self-presenting. I argue that the psychological pre-conditions that Chisholm imposes on his epistemic notions cause difficulties for the definition and suggest that there may be a further difficulty when one considers the definition in the light of what Chisholm says about the KK principle. I try, in the second part, to elucidate the relation that a person has to propositions that are self-presenting to him, and I consider Chisholm's (...) views on the same matter. (shrink)

How should we interpret the popular objection that stigmatised subjects are not treated as individuals? The Eidelson View claims that stigma, because of its connection to stereotypes, violates an instance of the general requirement to respect autonomy. The Self-Presentation View claims that stigma inhibits the functioning of certain morally important capacities, notably the capacity for self-presentation. I argue that even if we are right to think that stigma violates a requirement to respect autonomy, this is insufficient (...) to account for the full weight of the charge that stigmatised subjects are not treated as individuals. We need the Self-Presentation View to explain a special threat to agency. I then address the worry that focusing on a concern with being treated as individuals opens the door to the suggestion that treating as superior can be just as morally troubling as stigma. This objection is fatal for the Eidelson View. But the Self-Presentation View has a number of resources for deflating the worry. We should not exclude the possibility of a moral symmetry between some cases of stigma and some cases of treating as superior. Rather, we should provide a nuanced account of the circumstances in which either phenomenon is detrimental for self-presentation. (shrink)

Self-presentation is a term that indicates conscious and unconscious strategies for controlling or managing how one is perceived by others in terms of both appearance and comportment. In this article, I will discuss the phenomenology of self-presentation with respect to the phenomenological insights of Edmund Husserl and Merleau-Ponty regarding the visibility of the body within intercorporeal relations through ‘behaviour’ and ‘expression.’ In doing so, I will turn to the work of the Canadian sociologist and social theorist (...) Erving Goffman. Goffman’s account of self-presentation suggests why embodied subjects adopt certain styles of ordered bodily behaviour as determined by the broader social order, giving existential and social significance to the ontological structures of intercorporeal bodily communication. Following Goffman, I will suggest that the embodied subject is continuously—and constitutionally—engaged in implicit and explicit strategies to manage how the body is presented to others. In articulating self-presentation as a feature of intercorporeality, my aim in this article is to use Goffman’s insights to extend Husserl’s and Merleau-Ponty’s accounts of bodily communication by demonstrating that bodily communication that is instantiated at the level of intercorporeality is always expressed through social life with its various historical, cultural and linguistic dimensions. (shrink)

Philosophers often characterize modesty as a disposition that primarily or exclusively involves individual attitudes about one’s worth in relation to others. Borrowing from William James, I offer an interpersonal view of modesty that requires an emotional disposition sensitive to causing others offense based upon one’s self-presentation. On this view, modesty is a trait with the following three necessary features: (1) the modest person, A, endorses a norm of self-presentation M, (2) A is justified in believing that (...) another person, B, endorses M, and (3) A is emotionally disposed to avoid offending B by violating M. These conditions account for the variety of modesty norms about one’s merits and achievements, personal objects, and traditional modesty norms in dress and self-presentation. (shrink)

One of the fundamental pedagogical questions in teaching about human rights, war, and global citizenship is how to educate students to care about strangers whom they may never know and whom they may assume they have nothing in common with. At its core, this is an ethical question that highlights a problem in articulating relations between self and other. This article proposes a type of deconstructive literacy that uses photographs depicting suffering to address how viewers can consider their responsibilities (...) to other people in a world marked by violence. Critiquing normative pedagogical methods that use the visual power of photographs to impose ethics upon viewers, I outline how what I term a hauntagogical approach provides an opportunity for an emergent ethical relation between a viewer and the viewed. Suggestions for foundations approaches to pedagogy are considered. (shrink)

This article presents a theoretical model of the self processes involved in autobiographical memories and proposes competing hypotheses for the role of visual perspective in autobiographical memory retrieval. Autobiographical memories can be retrieved from either the 1st person perspective, in which individuals see the event through their own eyes, or from the 3rd person perspective, in which individuals see themselves and the event from the perspective of an external observer. A growing body of research suggests that the (...) class='Hi'>visual perspective from which a memory is retrieved has important implications for a person’s thoughts, feelings, and goals, and is integrally related to a host of self-evaluative processes. We review the relevant research literature, present our theoretical model, and outline directions for future research. (shrink)

There can be little doubt, from the enduring contemporary popularity of art galleries and museums, that such visual arts as painting and sculpture are sources of perceptual and emotional satisfaction and pleasure to a large viewing public. Still, given the contemporary unfamiliarity of much of the subject matter of past art and the absence of any clearly comprehensible subject matter in much modern (abstract and other) art, it may be less clear what younger or older viewers might come (...) to learn from their viewing of much or any educational value. This paper first offers an overview of the complex history of development of visual art from past to present in light of the shifting standards of artistic and aesthetic evaluation that have variously guided such development. However, it is argued that, while any educated appreciation of visual art cannot be had without some understanding of such history, it also requires a clear grasp of conceptual relations between the artistic and the aesthetic and of the significant interplay of diverse criteria of evaluation in any and all serious artworks past or present. Given this, visual arts may provide a unique route to educational understanding of the broadest liberal character. (shrink)

Informed consent, a cornerstone of research ethics, ensures participant protection and informed participation, particularly in online settings. Despite its significance, engagement with online consent forms remains low, underscoring the need for improved presentation strategies. This study investigates the impact of interactive elements and diverse presentation formats on the comprehension and engagement of online informed consent documents among a broad demographic beyond the commonly studied student populations. Employing a between-subjects experimental design, we explored six versions of online consent forms (...) varying in interactivity, readability, and visual formatting to identify optimal strategies for enhancing participant comprehension and engagement. Our findings reveal that interactive formats significantly improve comprehension and perceived readability, highlighting the pivotal role of design in facilitating informed consent. The study also examines the influence of individual differences, such as self-efficacy and trust in science, on the effectiveness of consent forms, providing insights into the nuanced dynamics between participant characteristics and consent form engagement. These results advocate for integrating interactive elements and thoughtful design in consent forms to foster a more informed and engaged participant base. Implications for research ethics, best practices in consent form development, and future research directions are also discussed, emphasizing the need for ongoing innovation in the consent process to adapt to the evolving landscape of online research. This study contributes to the body of knowledge on research ethics by offering evidence-based recommendations for enhancing the informed consent process, ultimately promoting participant-centered research practices. (shrink)

Ever since Lessing’s 1776 “Laocoön: An Essay upon the Limits of Poetry and Painting” aestheticians have been debating the essential differences between the temporal and the visual arts. Pace Lessing and his twentieth-century philosophical descendants, this essay explores the idea that the musical style cultivated by the American composer Elliott Carter in the years following World War II and the “action paintings” produced ca. 1947–53 by his compatriot Jackson Pollock in fact have quite a bit in common. The (...) commonality, the essay argues, is not so much anything contained in the works themselves as something perceived – perhaps even viscerally felt – by persons who experience the paintings and the musical compositions. Although their musical and painterly efforts are in most ways as different as night and day, both Carter and Pollock managed in their postwar works – perhaps uniquely – to create the potent illusion of multiple times that seem to pass at the same time. (shrink)

Some things look more complex than others. For example, a crenulate and richly organized leaf may seem more complex than a plain stone. What is the nature of this experience—and why do we have it in the first place? Here, we explore how object complexity serves as an efficiently extracted visual signal that the object merits further exploration. We algorithmically generated a library of geometric shapes and determined their complexity by computing the cumulative surprisal of their internal skeletons—essentially quantifying (...) the “amount of information” within each shape—and then used this approach to ask new questions about the perception of complexity. Experiments 1–3 asked what kind of mental process extracts visual complexity: a slow, deliberate, reflective process (as when we decide that an object is expensive or popular) or a fast, effortless, and automatic process (as when we see that an object is big or blue)? We placed simple and complex objects in visual search arrays and discovered that complex objects were easier to find among simple distractors than simple objects are among complex distractors—a classic search asymmetry indicating that complexity is prioritized in visual processing. Next, we explored the function of complexity: Why do we represent object complexity in the first place? Experiments 4–5 asked subjects to study serially presented objects in a self‐paced manner (for a later memory test); subjects dwelled longer on complex objects than simple objects—even when object shape was completely task‐irrelevant—suggesting a connection between visual complexity and exploratory engagement. Finally, Experiment 6 connected these implicit measures of complexity to explicit judgments. Collectively, these findings suggest that visual complexity is extracted efficiently and automatically, and even arouses a kind of “perceptual curiosity” about objects that encourages subsequent attentional engagement. (shrink)

Humans have been exploring colors since ancient times, but relatively complete color systems appeared one after another in the twentieth century. Even without language and other information exchanges, colors can still convey information and stimulate emotions. Therefore, color can have both physical and psychological effects on people. In this context, this paper studies the visual representation of painting colors based on psychological factors. The article studies the theory of personality traits and introduces the related content of visual (...) psychology. To explore the relationship between each variable and color psychology and the visual representation of painting colors, a binary logistic regression analysis is performed. The colors in the post-impressionist paintings of Van Gogh and Gauguin is contrasted, and experiments on psychological factors and color research is conducted. The factors that affect the color tone of the picture and the influence of psychological factors on the judgment of color brightness are investigated. Finally, the correlation analysis of personality trait dimension and irrational behavior is carried out. The experimental results of the article show that after the analysis of variance, the significance levels of regression model 1 and model 2 both reach 0.000, and the adjusted R squares are 0.319 and 0.356, respectively. In this study, regression model 2 was selected as the final model. According to Model 2, the standardized regression coefficients of agreeableness and neuroticism are 0.438 and -0.251, respectively, and the significance of the regression coefficients are 0.000 and 0.021, respectively. The research on the visual performance of painting colors based on psychological factors has been well completed. (shrink)

This study examined self-recognition processing in both the auditory and visual modalities by determining how comparable hearing a recording of one’s own voice was to seeing photograph of one’s own face. We also investigated whether the simultaneous presentation of auditory and visual self-stimuli would either facilitate or inhibit self-identification. Ninety-one participants completed reaction-time tasks of self-recognition when presented with their own faces, own voices, and combinations of the two. Reaction time and errors made (...) when responding with both the right and left hand were recorded to determine if there were lateralization effects on these tasks. Our findings showed that visual self-recognition for facial photographs appears to be superior to auditory self-recognition for voice recordings. Furthermore, a combined presentation of one’s own face and voice appeared to inhibit rather than facilitate self-recognition and there was a left-hand advantage for reaction time on the combined-presentation tasks. (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

The present study explored motivations for lying self-presentation on Instagram as well as the mental and behavioral outcomes of this presentation. We also examined the differential mediational roles of perceived popularity in accounting for the association between lying self-presentation and depression. Our results showed that individuals with a strong need for approval reported higher levels of lying self-presentation. The results also revealed that lying self-presentation positively influenced depression, perceived popularity and deleting (...) behaviors. Furthermore, we found that even if lying self-presentation increased depression, perceived popularity served as a psychological buffer against depression. (shrink)

It has often been argued that one of the reasons why we should value privacy is that it enables self-presentation and impression management. According to this approach, it is valuable to be able to govern the impression one gives, as the capacity to govern impressions is an instrument by which people take care of their various social relationships. In this paper I will take a closer look at that approach on privacy, with specific reference to the alleged threats (...) to privacy created by brain imaging technologies. I will argue that brain imaging can threaten our capacity for self-presentation, but that the link between privacy and self-presentation is only contingent, although their relation is strong. The conclusion is that brain privacy cannot be grounded only on the importance of self-presentation, although self-presentation provides an important reason for respecting the privacy of our inner lives. (shrink)

To investigate the possible dichotomy between the neurophysiological bases of perceptual transitions versus sustaining a particular percept over time, an fMRI study was conducted with subjects viewing fragmented pictures. Unlike most other perceptually unstable stimuli, fragmented pictures give rise to only one perceptual transition and a continuous period of sustained perception. Earlier research is inconclusive on the subject of which anatomical regions should be attributed to what temporal aspect of perception, and the aim of the present study was to shed (...) more light on the subject. In this study occipitotemporal and fronto-parietal regions were found to be activated for both aspects. However, regions in the medial-temporal lobe were activated specifically for transitions, whereas medial and dorsolateral prefrontal regions were activated specifically for sustained perception. These results provide further support for the theory that the initial creation of perceptual awareness and upholding perceptual awareness over time are separate processes involving different brain regions. (shrink)