To assess the effectiveness of Visual Thinking Strategies in medical education curricula, a pretest–posttest experimental study design was used to evaluate the impact of participating in VTS workshops on first-year medical students. A total of forty-one intervention and sixty comparative students completed the study which included the analysis of clinical images followed by a measurement of word count, length of time analyzing images, and quality of written observations of clinical images. VTS training increased the total number of (...) words used to describe clinical images, the time spent analyzing the images, and the number of clinically relevant observations. (shrink)

Despite the importance of effective observational analysis in the technical aspects of climbing performance, limited research informs this aspect of climbing coach education. Thus, the purpose of the present research was to explore cognitive-perceptual mechanisms underpinning visual search strategies of expert and novice climbing coaches through the novel combination of eye-tracking technology and retrospective think-aloud methodology. Analysis of gaze data revealed expert climbing coaches to demonstrate fewer fixations of greater duration, and fixate on distinctly different areas of the (...) visual display, than their novice counterparts. Retrospective think-aloud interviews further demonstrated differences in the cognitive-perceptual mechanisms underpinning these visual search strategies, with expert coaches more cognisant of their visual search strategy. To expand, the gaze behaviour of expert climbing coaches was underpinned by hierarchical and complex knowledge structures relating to principles of climbing movement. This enabled expert coaches to actively focus on the most relevant aspects of a climber’s performance for analysis. Findings demonstrate the utility of combining eye tracking and retrospective think-aloud interviewing as a new, efficient methodology of capturing the cognitive-perceptual processes of climbing coaches to inform coaching education/strategies. (shrink)

Published in 1891, Edmund Husserl's first book, Philosophie der Arithmetik, aimed to ‘prepare the scientific foundations for a future construction of that discipline’. His goals should seem reasonable to contemporary philosophers of mathematics: "…through patient investigation of details, to seek foundations, and to test noteworthy theories through painstaking criticism, separating the correct from the erroneous, in order, thus informed, to set in their place new ones which are, if possible, more adequately secured. 1"But the ensuing strategy for grounding mathematical knowledge (...) sounds strange to the modern ear. For Husserl cast his work as a sequence of ‘psychological and logical investigations’, providing a psychological analysis "…of the concepts multiplicity, unity, and number, insofar as they are given to use authentically and not through indirect symbolizations. "This emphasis on psychology is a reflection of Husserl's training. As a teenager studying in Leipzig, he attended the lectures of Wilhelm Wundt, a seminal figure in the field of experimental psychology. Wundt held that, via introspection, we can study and classify our inner experiences, in much the same way that scientists study the natural world. 2 People working in his laboratory were therefore trained in procedures for observing and reporting on their own thought processes, as a means of gathering scientific data regarding our cognitive faculties. Bridging the gap between psychology and epistemology, Wundt felt that the results of such inquiry could have normative consequences, since the principles of reasoning employed in the sciences not only have their origins in psychological processes, but, moreover, are justified by the fundamental role they play in thought. His two-volume work, Logik , thus combined empirical considerations with a Kantian emphasis on the way that knowledge depends on our cognitive faculties. 3In The Philosophy of …. (shrink)

Certain forms of art privilege the ellipsis. For example, in poetry, one has only to think of Mallarmé's Un Coup de dés for ellipsis to mark its peculiar trace upon the processes of meaning. Nonetheless, because ellipsis situates itself so curiously between meaning and signification, a formal definition may seem too categorical in explaining what ellipsis can do in its between-state, flanked by visuality, semiotics and signification. This article examines how Merleau- Ponty, Derrida and Deleuze, employ textual-visual and ontological-perceptual (...) strategies for making sense of this slippery signifier. These strategies allow us to think through examples of ellipsis in the writing of Hélène Cixous and in the photographs of Robert Frank, in terms of semantic, affective, aesthetic and material qualities. (shrink)

Introduction. The intensity of the visual media influence in the format of films and TV series on cultural life, reaching its peak in the era of streaming television, poses the task for the humanities to study the visual type of thinking, visual consciousness, which is different from the classical visualization of verbal thinking in the plastic arts. If a researcher intends to derive from a film or TV series, a value system, a cognitive strategy that (...) is relevant for its time, the visual environment may turn out to be no less eloquent for him than the dramatic action taking place in it. The character and quality of this environment are made up of many sensory elements: light, color, movement and its choreography, sound, space, subject referents, etc. Taken together, they represent not so much an articulation of the author’s thought, but a way of specifically visually thinking through this thought. The complex structure of visual-mental environments requires extensive and systematic research work. In this article we take one of the most obvious substantive aspects of the visible: the vestimental strategy of the film. The purpose of the article is to identify patterns marked by subject (vestimentary) characteristics that are redundant in relation to the dramatic action by comparing the visual environments of films from different decades of the 20th century; using the code of cultural universals that assign the function of sociocultural and ethical regulation to the concept of “clothing” [1; 3; 5; 10; 15], to identify the meaning of these patterns in the context of the ethical thinking of the era. Methods. During the study, the authors use general scientific methods of analysis and synthesis; the method of phenomenological reduction, which makes it possible to record the sensory qualities of object-spatial screen environments; a hermeneutical method that allows, on the basis of visible sign structures, to identify the essential intentions of a visual image. In view of the task, it turned out to be necessary to involve some concepts of narratology (in particular, the concept of focalization) and methods of corpus analysis adopted in linguistics. The scientific novelty lies in the fact that we approach the visual source from a philosophical and cultural perspective, considering the visual environment of the film as a form and method of actual sociocultural or philosophical thinking, which has specific (visual) tools. This approach allows us to draw conclusions based not only on individual films, but also on large source databases. Results. During the analysis, the authors applied the tools of modern visual studies and the conceptual basis of socio-philosophical ethics to cinematic texts of the 20th century. This made it possible to discover visual patterns common to films of some decades of the 20th century, namely: the 1930s, 1950s, 1990s, and connect them with the ethical issues of time. Conclusions. Analysis of source databases that include cinematic texts can be carried out through a systematic analysis of the visual environments presented on the screen. At the same time, dominant visual patterns characteristic of a particular era can be identified and described. Such a dominant determines the emphasis in the figurative whole and reveals important aspects of philosophical and cultural thought relevant for its time, including ethical thought. (shrink)

Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation—often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises—Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside—from (...) “Training the Eye: Improving the Art of Physical Diagnosis,” an elective museum-based course at Harvard Medical School. It is our opinion that while strategic interactions with the visual arts can improve skills, it is essential for students to apply them in a clinical context with faculty support—requiring educators across disciplines to learn from one another. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a (...) foreclosed home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This volume investigates the meaning of visual rhythm through Piet Mondrian's unique approach to understanding rhythm in the compositional structure of painting, drawing reference from philosophy, aesthetics, and Zen culture. Its innovation lies in its reappraisal of a forgotten definition of rhythm as 'stasis' or 'composition' which can be traced back to ancient Greek thought. This conception of rhythm, the book argues, can be demonstrated in terms of pictorial strategy, through analysis of East Asian painting and calligraphy with which (...) Greek thought on rhythm has identifiable commonalities. The book demonstrates how these ideas about rhythm draw together various threads of intellectual development in the visual arts that cross disparate aesthetic cultural practices. As an icon of early 20th Century Modernism, Mondrian's neoplasticism is a serious painterly and philosophical achievement. In his painting, Mondrian was deeply influenced by Theosophy, which took its influence from Eastern aesthetics; particularly East Asian and Indian thought. However, Mondrian's approach to visual rhythm was so idiosyncratic that his contribution to studies of visual rhythm is often under-recognized. This volume shows that a close inspection of Mondrian's own writing, thinking and painting has much to tell scholars about how to understand a long forgotten aspect of visual rhythm. Rodin's famous criticism of photography ("athlete-in-motion is forever frozen") can be applied to Muybridge's zoopraxiscope, the Futurists' rendition of stroboscopic images, and Duchamp's "Nude Descending a Staircase." Through a comparative study between Mondrian's painting and these seminal works, this volume initiates a new convention for the cognition of the surface of painting as visual rhythm. "Mondrian's simultaneous emphasis on the static and the rhythmic is hardly fodder for a publicist. Eiichi Tosaki has taken on the challenge of elucidating Mondrian's theories of rhythm, and particularly his conception of "static" rhythm. The result is a tour de force that will forever alter the reader's encounter with the works of Mondrian." Prof. Kathleen Higgins. (shrink)

:A common goal of ethics education is to equip students who later become health practitioners to not only know about the ethical principles guiding their practice, but to also autonomously recognize when and how these principles might apply and assist these future practitioners in providing care for patients and families. This article aims to contribute to discussions about ethics education pedagogy and teaching, by presenting and evaluating the use of the visual arts as an educational approach designed to facilitate (...) students’ moral imagination and independent critical thinking about ethics in clinical practice. We describe a sequence of ethics education strategies over a 3 year Doctor of Physiotherapy program, focusing on the final year professional ethics assessment task, which involved the use of visual arts to stimulate the exploration of ethics in healthcare. The data were analyzed using both thematic and content analysis. Two key themes centered on emotional responses and lateral thinking. The use of artwork appeared to facilitate imaginative, emotional, and conceptual thinking about ethics and clinical experience. This study provides some evidence to support the effectiveness of the use of the visual arts in promoting students’ recognition of ethical dimensions within their clinical experience and reflection on their emerging professional identity. As one student noted, she left the museum “somewhat changed.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A City of Brick":Visual Rhetoric in Roman Rhetorical Theory and PracticeKathleen S. LampPerhaps none of the words Augustus, the first sole ruler of Rome who reigned from 27 BCE to 14 CE, actually said are quite as memorable as the ones Cassius Dio has attributed to him: "I found Rome built of clay and I leave it to you in marble" (1987, 56.30).1 Suetonius too discusses Augustus's building (...) program, offering an alleged quote along with an explanation of his motivation: "Since the city was not adorned as the dignity of the empire demanded, and was exposed to flood and fire, he so beautified it that he could justly boast that he had found it built of brick and left it in marble" (1998, Aug.28.3). Though Suetonius's explanation is practical, Dio argues Augustus's "city of brick" had a more metaphoric or symbolic meaning: "In saying this he was not referring literally to the state of the buildings, but rather to the strength of the empire" (1987, 56.30).Both historians, then, perceive a connection between the physical appearance of the city and Rome's place at the head of the (Roman) world. Maecenas, Augustus's right-hand man who was essentially the minister of culture, explicitly draws attention to this strategy in a speech fabricated by Dio. Maecenas advises Augustus, "Make this capital beautiful, spare no expense in doing so, and enhance its magnificence with festivals of every kind. It is right for us who rule over so many peoples to excel all others in every field of endeavor, and even display of this kind tends to implant [End Page 171] respect for us in our allies and to strike terror into our enemies" (1987, 52.30). Here Dio suggests, albeit in hindsight, that Augustus's building program was a conscious "display" of Rome's supremacy meant to elicit a reaction, particularly from those who dwelled outside the city.Though from this passage of Dio's it is possible to argue that the physical appearance of the city of Rome was meant to persuade, or at least elicit some response, the passage does not provide support for the claim that architecture, monuments, and city planning functioned rhetorically in ancient Rome. After all, Quintilian reminds us that "many other things have the power of persuasion" (1970, 2.15.6-9). Nonetheless, this passage does generate questions about the relationship between the Augustan building program, or more broadly the Augustan cultural campaigns, and rhetoric in the principate—specifically about the way in which the cultural campaigns functioned rhetorically to help Augustus gain and maintain power.Recently, I have argued that the Ara pacis Augustae, an Augustan monument commissioned in 13 BCE, functioned as a visual example of a rhetorical text, meant not only to celebrate Augustus's successful campaigns is Spain and Gaul but also to garner public support for Augustus's heir and the process of dynastic succession. Because specific rhetorical techniques often associated with the epideictic genre clearly function on the altar, the Ara pacis demonstrates that Augustus and/or his ministers were thinking rhetorically when constructing at least some Augustan monuments (Lamp 2009). Similarly, architectural historian Diana Favro has argued that certain aspects of Augustan architecture made use of rhetorical techniques related to the canon of memory (1996). These findings are perhaps not surprising given that George Kennedy, writing nearly forty years ago, acknowledged that Augustus, a figure he called "the greatest rhetorician of antiquity, " "developed new techniques of verbal and visual persuasion which took over some of the functions and adapted some of the methods of traditional oratory" (1972, 378, 382).Still, very little attention has been paid to Augustus as a rhetorical figure, which is not to say that scholars of rhetoric have paid no attention to Roman rhetoric. While the classicist Theodore Mommsen, writing in the latter half of the nineteenth century, went as far as to refer to the principate as the "end to the entire discipline of rhetoric" (1992, 125), the decline narrative in regards to Roman rhetoric is shifting. Traditionally, this decline narrative suggested that following the assassination of Cicero, traditional oratory retreated into... (shrink)

The squared paper or graphs are grid-based design representations used in engineering, industrial and craft design practices wherein designs are drawn over symmetrical grids. This paper reports grid-processing strategies undertaken by actors in a native craft practice, viz. Kashmiri carpet-weaving having three task contexts: (1) _design_, wherein designs are drawn on graph sheets and color scheme given by assigning practice-specific symbolic codes to the motifs by designers; (2) _coding_, wherein a cryptic script, called _talim_, is generated from these encoded (...) graphs by talim-writers; and (3) _weaving_, wherein this script is read, decoded and communicated in an equally cryptic trade-language by weavers among their teams. 32 video-recorded think-aloud sessions were conducted with talim-writers to understand their graph-processing and resultant coding strategies. The observations and qualitative analysis of transcripts revealed highly _situated_ strategies undertaken by experts keen on imbibing visuality of design embedded in the grids, in contrast to _embodied_ strategies undertaken by less-experienced coders keen on processing grids’ structural features and getting overwhelmed by grid-clutter in the process. In this landscape, the findings revealed a negotiated nature of errors instead of being deviations from the underlying grid and thereby objectively assessable. The paper makes recommendations for CAD systems to include more of those grid features exploited by experts during their graph processing to facilitate designers. (shrink)

This paper aims to trace individual as well as collective aspects of ‘sight styles’ in diagnostic computed tomography. Radiologists need to efficiently translate the visualized data from the living human body into a reliable and significant diagnosis. During this process, their visual thinking and the created images are incorporated into a complex network of other visualizations, communication strategies, professional traditions, and (tacit) visual knowledge. To investigate the interplay of collective as well as individual dimensions of diagnostic (...) seeing, the concept of ‘sight collective’ (Sehkollektiv) is developed. On the one hand, this concept is based on critical reading of Ludwik Fleck’s epistemological writings and his notions of thought collective (Denkkollektiv) and thought style (Denkstil). On the other hand, it is tested by means of qualitative empirical studies in a radiological university clinic (participatory observations and informal interviews). By employing this approach, the paper traces the collective foundations of a certain diagnostic sight. Moreover, it shows how the individual abilities of radiologists to perform stylized seeing rely remarkably on software-based interactions with the processed images and on tacit dimensions of visual knowledge. (shrink)

Marcus Giaquinto presents an investigation into the different kinds of visual thinking involved in mathematical thought, drawing on work in cognitive psychology, philosophy, and mathematics. He argues that mental images and physical diagrams are rarely just superfluous aids: they are often a means of discovery, understanding, and even proof.

Proposed educational outcomes for the health humanities in medical education range from empathy to visual thinking skills to social accountability. This lack of widely agreed-upon high-level curricular goals limits humanities educators’ ability to design purposeful curricula toward clear, common ends and threatens justifications for scarce curricular time. We propose a novel approach to the hoped-for outcomes of health humanities training in medical schools, which has the potential to encompass traditional health humanities knowledge, skills, and behaviors while also being (...) concrete and measurable: humanistic practice. Humanistic practice, adapted from the concept of ethical sensitivity, is an intentional process of applying humanities knowledge and skills to a clinical scenario by 1) noticing that the scenario requires humanities knowledge or skills, 2) informing one’s clinical and interpersonal strategy and behavior with humanities knowledge or skills, 3) reflecting on the effectiveness of the strategy and behavior, and 4) reorienting to develop new approaches for future practice. The construct of humanistic practice may help address some of the foundational problems in health humanities outcomes research since it transcends the traditional diverse content domains in the health humanities, can link patient and provider experiences, and may bridge the divide among the additive, curative, and intrinsic epistemic positions of humanities to medical education. (shrink)

"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...

Our visual experience seems to suggest that no continuous curve can cover every point of the unit square, yet in the late 19th century Giuseppe Peano proved that such a curve exists. Examples like this, particularly in analysis received much attention in the 19th century. They helped to instigate what Hans Hahn called a ‘crisis of intuition’, wherein visual reasoning in mathematics came to be thought to be epistemically problematic. Hahn described this ‘crisis’ as follows : " Mathematicians (...) had for a long time made use of supposedly geometric evidence as a means of proof in much too naive and much too uncritical a way, till the unclarities and mistakes that arose as a result forced a turnabout. Geometrical intuition was now declared to be inadmissible as a means of proof … "Avoiding geometrical evidence, Hahn continued, mathematicians aware of this crisis pursued what he called ‘logicization’, ‘when the discipline requires nothing but purely logical fundamental concepts and propositions for its development’. On this view, an epistemically ideal mathematics would minimize, or avoid altogether, appeals …. (shrink)

Frank Jackson’s knowledge argument is a very influential piece of reasoning that seeks to show that colour experiences constitute an insoluble problem for science. This argument is based on a thought experiment concerning Mary. She is a vision scientist who has complete scientific knowledge of colours and colour vision but has never had colour experiences. According to Jackson, upon seeing coloured objects, Mary acquires new knowledge that escapes her complete scientific knowledge. He concludes that there are facts concerning colour experiences (...) that scientific knowledge can neither describe nor explain. Specifically, these facts involve the occurrence of certain non-physical properties of experiences that he calls qualia. The present research considers whether a plausible formulation of the hypothesis that science can accommodate colour experiences is threatened by a version of the knowledge argument. The specific formulation of this problem has two motivations. Firstly, before investigating whether the knowledge argument raises a problem for the claim that science can account for colour experiences, we need a plausible formulation of this claim. I argue that the idea that science can accommodate colour experiences can be formulated as the modest reductionism hypothesis. Roughly speaking, this is the hypothesis that a science that can be explanatory interfaced with current physics of ordinary matter can account for conscious experiences. Secondly, an unintelligible premise figures in Jackson’s version the knowledge argument. Namely, it is assumed that Mary possesses a complete scientific knowledge. Nevertheless, the type of strategy involved in Jackson’s argument can be used to target modest reductionism. By considering contemporary psychophysics and neuroscience, I characterise Mary’s scientific knowledge. First, this characterisation is intelligible. In fact, it is elaborated on the basis of descriptions and explanations of colour experiences involved in current physics and neuroscience. Second, a supporter of modest reductionism can assume that the scientific knowledge ascribed to Mary might account for colour experiences. The main conclusion of the present research is that our version of the knowledge argument fails to threaten the modest reductionism hypothesis. In fact, I endorse what can be called the “two ways of thinking” reply to the knowledge argument. According to this response, the knowledge argument shows that there are different ways of thinking about colour experiences. One way of thinking is provided by scientific knowledge. The other way of thinking is provided by our ordinary conception of colour experiences. However, the existence of these two ways of thinking does not imply the existence of facts and properties that escape scientific knowledge. It might be the case that the ordinary way of thinking about colour experience concerns facts and properties described and explained by science. The principal conclusion of the research results from two investigations. The first line of research aims to reveal and evaluate the implicit assumptions that figure in the knowledge argument. The main body of the research is dedicated to this task. The principal result of this investigation is that the knowledge argument must rely on an account of introspective knowledge of colour experiences. I argue that an inferential model of introspection provides such account. On this model, Mary’s capacity to hold beliefs about her colour experiences when she sees coloured objects requires her mastery of colour concepts. The second main investigation seeks to justify the two ways of thinking strategy. As many opponents and supporters have recently started to realise, this strategy might be charged with being ad hoc. I offer a distinctive justification of this reply to the knowledge argument. Assuming the account of introspection mentioned above, the existence of visual recognitional colour concepts might justify this strategy. A person possesses these concepts when she is able to determine the colours of objects simply by having visual experiences. (shrink)

La Sociedad del Conocimiento se caracteriza por un continuo contacto con una información de marcado carácter visual. No resulta extraño, pues, implementar en el aula universitaria una metodología basada en la imagen, el Visual Thinking. La metodología utilizada es de naturaleza cuantitativa. Se presentan los resultados de la aplicación de esta herramienta a 401 estudiantes de tres titulaciones de la Universidad de Córdoba, que manifiestan un alto nivel de satisfacción con la experiencia y mejoras en el aprendizaje (...) de las asignaturas. El Visual Thinking se considera una herramienta que favorece la implicación del estudiantado a partir del uso de imágenes. (shrink)

Can visual thinking be a means of discovery in elementary analysis, as well as a means of illustration and a stimulus to discovery? The answer to the corresponding question for geometry and arithmetic seems to be ‘yes’ (Giaquinto [1992], [1993]), and so a positive answer might be expected for elementary analysis too. But I argue here that only in a severely restricted range of cases can visual thinking be a means of discovery in analysis. Examination of (...) persuasive visual routes to two simple theorems (Rolle, Bolzano) shows that they are not ways of discovering the theorems; the type of visual thinking involved can never be used to discover analytic theorems of a certain generality. The hypothesis that visual thinking is never a means of discovering the existence or nature of the limit of some infinite process is considered, and a likely counter-example is set out. It is still possible that restricted theorems can be discovered visually: an example from Littlewood is examined in detail and not found wanting. Even when visual thinking is not a means of discovery it can provide the idea for a proof in a direct way; an example is presented (Intermediate Value Theorem). In conclusion: it may be possible to discover theorems in elementary real analysis by visual means, but only theorems of a restricted kind; however, visual thinking in analysis can be very useful in other ways. (shrink)

The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition. Descartes, in the sixth Meditation, defined man as "a thing that thinks," to which reasoning came naturally; whereas imagining, the activity of the senses, required a special effort and was in no way necessary to the human nature or essence. The passive ability to receive images of sensory things, said Descartes, would be useless if there did (...) not exist in the mind a further and higher active faculty capable of shaping these images and of correcting the errors that derive from sensory experience. A century later Leibnitz spoke of two levels of clear cognition.1 Reasoning was cognition of the higher degree: it was distinct, that is, it could analyze things into their components. Sensory experience, on the other hand, was cognition of the lower order: it also could be clear but it was confused, in the original Latin sense of the term; that is, all elements fused and mingled together in an indivisible whole. Thus artists, who rely on this inferior faculty, are good judges of works of art but when asked what is wrong with a particular piece that displeases them can only reply that it lacks nescio quid, a certain "I don't know what." · 1. Leibnitz, Nouveaux essais sur l'entendement humain , bk. 2, chap. 29. Rudolf Arnheim is the author of Art and Visual Perception: A Psychology of the Creative Eye, Toward a Psychology of Art, The Dynamics of Architectural Form, and Visual Thinking. His previous contributions to Critical Inquiry are "On the Nature of Photography" and "A Stricture on Space and Time". (shrink)

Our visual experience seems to suggest that no continuous curve can cover every point of the unit square, yet in the late 19th century Giuseppe Peano proved that such a curve exists. Examples like this, particularly in analysis received much attention in the 19th century. They helped to instigate what Hans Hahn called a ‘crisis of intuition’, wherein visual reasoning in mathematics came to be thought to be epistemically problematic. Hahn described this ‘crisis’ as follows : " Mathematicians (...) had for a long time made use of supposedly geometric evidence as a means of proof in much too naive and much too uncritical a way, till the unclarities and mistakes that arose as a result forced a turnabout. Geometrical intuition was now declared to be inadmissible as a means of proof … "Avoiding geometrical evidence, Hahn continued, mathematicians aware of this crisis pursued what he called ‘logicization’, ‘when the discipline requires nothing but purely logical fundamental concepts and propositions for its development’. On this view, an epistemically ideal mathematics would minimize, or avoid altogether, appeals …. (shrink)

Visual search studies have shown that East Asians rely more on information gathered through their extrafoveal (i.e., peripheral) vision than do Western Caucasians, who tend to rely more on information gathered using their foveal (i.e., central) vision. However, the reasons for this remain unclear. Cognitive linguists suggest that the difference is attributable linguistic variation, while cultural psychologists contend it is due to cultural factors. The current study used eye-tracking data collected during a visual search task to compare these (...) explanations by leveraging a semantic difference against a cultural difference to determine which view best explained strategies used on the task. The task was administered to Chinese, American, and Japanese participants with a primary focus on the Chinese participants’ behaviors since the semantic difference aligned the Chinese participants with the Americans, while their cultural affiliation aligned them with the Japanese participants. The results indicated that the Chinese group aligned more closely with the American group on most measures, suggesting that semantic differences were more important than cultural affiliation on this particular task. However, there were some results that could not be accounted for by the semantic differences, suggesting that linguistic and cultural factors might affect visual search strategies concurrently. (shrink)

Plato has devised texts which call the readers to collaborate cognitively with them. An important epistemic stimulation is the schematization, the line segment, which summarizes Plato’s idea of intellectual development. In this research, visual thinking will help us to make the most of the Platonic invitation to investigate further cognitive growth. It will be analyzed how visual discoveries are rendered possible by mental number lines, realizing the epistemological importance of visualization. Thanks to visualization, structuralism will be grasped. (...) It will reveal a connection with Plato’s philosophy which suggests a novel elaboration of the Platonic concept of intellectual growth. (shrink)

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

The objective of this essay is to forge a more explicit link between the “visual turn” and the “practice turn” in entrepreneurship research. Specifically, we explore three key aspects of mobilizing visual methods for studying entrepreneurship-as-practice, i.e., data sources, collection strategies, and analytical perspectives, highlighting the important theoretical and empirical promises that visual methods hold for said research. This essay bears implications for researchers and educators working at the intersection of entrepreneurship research, the practice theory, and (...) visual methods. (shrink)

© Mind Association 2018Some time ago I was at the Bibliothèque Nationale in Paris investigating the teaching of philosophy during Descartes’ time. Fine monographs had already been published on the various regimens and practices at Descartes’ college at La Flèche, and Jesuit institutions in general, as well as the collegiate curriculum in seventeenth-century France. But as interested as I was in the form of the teaching—how philosophy was taught, where, and when—I was more interested in its content—what was actually taught. (...) A fair number of early modern textbooks and some manuscripts of lectures and student notebooks were still available; beyond that, one could find reports of weekly or monthly disputations, condemnations of specific doctrines, various broadsheets, manifestos, and student theses and dissertations. After overcoming some administrative resistance, I found myself in a room at the Cabinet d’Estampes looking at a... (shrink)

The demand for ethical fashion products has grown in recent years, with consumers caring more about how the product is made. Based on the deontological underpinnings of ethical fashion, the present research provides recommendations to ethical fashion brands by leveraging the emotion of awe through visual representations. This research examines 5362 Instagram posts of five ethical fashion brands and shows that the presence of awe-inspiring visual elements increases consumer engagement on social media for ethical fashion brands. Further, this (...) research identifies the moderating roles of the color green and the size of the visual elements in this context. Two follow-up experiments provide causal evidence for these relationships. Experimental evidence for the role of deontological beliefs as a mediator of the relationship between feelings of awe and social media engagement with ethical fashion brands is also provided. Overall, the findings offer a more nuanced understanding of how ethical fashion brands can develop effective visual advertising campaigns on social media and the underlying process driving the effect, which is consistent with deontological ethics. (shrink)

The demand for ethical fashion products has grown in recent years, with consumers caring more about how the product is made. Based on the deontological underpinnings of ethical fashion, the present research provides recommendations to ethical fashion brands by leveraging the emotion of awe through visual representations. This research examines 5362 Instagram posts of five ethical fashion brands and shows that the presence of awe-inspiring visual elements increases consumer engagement on social media for ethical fashion brands. Further, this (...) research identifies the moderating roles of the color green and the size of the visual elements in this context. Two follow-up experiments provide causal evidence for these relationships. Experimental evidence for the role of deontological beliefs as a mediator of the relationship between feelings of awe and social media engagement with ethical fashion brands is also provided. Overall, the findings offer a more nuanced understanding of how ethical fashion brands can develop effective visual advertising campaigns on social media and the underlying process driving the effect, which is consistent with deontological ethics. (shrink)

How should we characterize the nature of conscious occurrent thought? In the last few years, a rather unexplored topic has appeared in philosophy of mind: cognitive phenomenology or the phenomenal character of cognitive mental episodes. In this paper I firstly present the motivation for cognitive phenomenology views through phenomenal contrast cases, taken as a challenge for their opponents. Secondly, I explore the stance against cognitive phenomenology views proposed by Restrictivism, classifying it in two strategies, sensory restrictivism and accompanying states. (...) On the one hand, I problematize the role of attention adopted by sensory restrictivism and I present and discuss in detail an argument that defends the limitation of sensory phenomenology so as to explain the distinction between visual and cognitive mental episodes on the basis of immediate experience. On the other hand, I address accompanying states views by discussing the empirical studies of Hurlburt et al. (2006, 2008) that defend the existence of “unsymbolized thinking”. I present how they can be construed as evidence for cognitive phenomenology views and I dispel some problems that have been raised against its acceptance. I thus conclude that cognitive phenomenology views hold up well against the restrictivist positions considered. (shrink)

The aim of this article is to strengthen links between cognitive brain research and formal logic. The work covers three fundamental sorts of logical inferences: reasoning in the propositional calculus, i.e. inferences with the conditional “if...then”, reasoning in the predicate calculus, i.e. inferences based on quantifiers such as “all”, “some”, “none”, and reasoning with n-place relations. Studies with brain-damaged patients and neuroimaging experiments indicate that such logical inferences are implemented in overlapping but different bilateral cortical networks, including parts of the (...) fronto-temporal cortex, the posterior parietal cortex, and the visual cortices. I argue that these findings show that we do not use a single deterministic strategy for solving logical reasoning problems. This account resolves many disputes about how humans reason logically and why we sometimes deviate from the norms of formal logic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy, Dissent, and Nonconformity, 1689–1920Bruce KuklickAlan P. F. Sell. Philosophy, Dissent, and Nonconformity, 1689–1920. Cambridge: James Clark & Co., 2004. Pp. 296. Cloth, £50.00This is a competent, clearly written, and authoritative exploration of its topic, in some respects a labor of love, for the author is both a pastor and a student of theology. Sell comprehensively examines the proliferation of dissenting academies and nonconformist colleges of England and (...) Wales, with some excursions into the Scottish scene, from the Toleration Act of 1689 through the early twentieth century. For the 230 years of this study, a great variety of schools, many of which had only a brief moment of existence, and most of which were barely funded, offered training for the ministers of over a dozen protestant denominations in Britain. Often one man provided instruction in subjects as diverse as mathematics, science, and literature—as well as religious fields.Sell does not focus on ministerial training or even theology, but the way in which the nonconforming religious élite expounded on and was taught philosophy. Thus, one sees how a diverse group that surely had sectarian needs in mind was also interested in grasping how thinkers outside its belief system approached basic problems of human existence. Over time Descartes and other continental rationalists, Locke and the Cambridge Platonists, Kant and Hegel, and the nineteenth-century British idealists were taught by the dissenting professoriate. In summarizing its interpretation, Sell presents a history of modern Anglo-European philosophy as it was refracted in the minds of (some) English-speaking Protestants. Their emphases are not unexpected: empiricism is somewhat devalued, and rationalistic and a priori modes of thinking perhaps inflated. The ethical implications of epistemology and metaphysics are most carefully explicated, and what is taken to be most strategic for [End Page 211] Reformed theology is underscored. Overall, if one is tempted to generalize (as Sell himself does not), the positions reached are credible and not out of line with the philosophical cutting edge of each era.For the most part the dissenters were not themselves creative philosophers of the first rank, but Sell rightly puts forward (206) a short list of thinkers at these schools who have genuine claims to merit, and my own very short list would include Richard Price, James Martineau, and Robert Mackintosh.The author uses diverse strategies to give readers a sense of the effort of these mostly forgotten men. To some extent the book is a biographical compendium, with brief sections on individual or paired thinkers. But Sell also offers coverage by denomination, and he adds a series of discussions by topics—on an assortment of recurring dilemmas in moral philosophy and on apologetics. A final and most useful feature of the book is a trio of indices, in addition to the very full notes and a complete bibliography, mainly of the writings of the many authors cited. Two of the indices are standard, but helpful, lists of persons and topics; the third one is a compendium of all the academies Sell treats, as well as their denominational affiliation, and the duration of their existences.Philosophy, Dissent, and Nonconformity has the defects of its virtues. It is encyclopedic in nature, available for reference but unlikely to be read as a synthetic book, except by devotees of a certain kind of historical philosophical theology. The author also presumes his readers are unlikely to tackle the volume unless they have a prior attraction. That is, the book is written without much contextual explication, and attention to the needs of the non-specialist certainly would have made the volume of wider interest. The work is still relatively brief, under 300 pages, and because of its character, I would have liked to have seen a series of maps that pinpointed the whereabouts of the dissenting schools, giving the reader a visual sense of when and where they arose and declined among particular denominations, and that informed us of what the relations were among the successive professors who defined the learning.Bruce KuklickUniversity of PennsylvaniaCopyright © 2005 Journal of the History of Philosophy, Inc.... (shrink)

Theories of perception have traditionally dismissed the sense of smell as a notoriously variable and highly subjective sense, mainly because it does not easily fit into accounts of perception based on visual experience. So far, philosophical questions about the objects of olfactory perception have started by considering the nature of olfactory experience. However, there is no philosophically neutral or agreed conception of olfactory experience: it all depends on what one thinks odors are. We examine the existing philosophical methodology for (...) addressing our sense of smell: on the one hand appeals to phenomenology that focus on the experiential dimensions of odor perception and on the other approaches that look at odor sources and their material dimensions. We show that neither strategy provides enough information to account for the human sense of smell and argue that the inclusion of the missing dimension of biology, with its concern for the function (or functions) of olfaction, provides the means to develop a satisfactory and empirically informed philosophy of smell. (shrink)

People often struggle with Bayesian reasoning. However, research showed that people’s performance (and rationality) can be supported by the way of representing the statistical information. First, research showed that using natural frequencies instead of probabilities as format of statistical information increases people’s performance in Bayesian situations thoroughly. Second, research also yielded that people’s performance increases through using visualization. We build our paper on existing research in this field. The main aim is to analyse people’s strategies in Bayesian situations that (...) are still erroneous although statistical information is represented by natural frequencies and visualizations. In particular, we compare two pairs of visualization with similar numerical information (tree diagram vs. unit square and double-tree diagram vs. 2x2-table) concerning their impact on people’s erroneous strategies in Bayesian situations. For this aim, we conducted an experiment with 540 university students. The students were randomly assigned to four conditions that are defined by the four different visualizations of statistical information. The students were asked to indicate a fraction as response in four Bayesian situations. We documented the numerator and the denominator of the students’ responses representing a basic set and a subset in a Bayesian situation. Our results show that people’s erroneous strategies are highly dependent on the visualization. A central finding is that the visualization’s characteristic of making the nested-sets structure of a Bayesian situation transparent has a facilitating effect on people’s Bayesian reasoning. For example, compared to the unit square, a tree diagram does not explicitly visualize the set-subset relations that are relevant in a Bayesian situation. Accordingly, compared to a unit square, a tree diagram partly hinders people to find the correct denominator in a Bayesian situation, and, in particular, triggers to select a wrong numerator. By analyzing people’s erroneous strategies in Bayesian situations, we contribute to investigating approaches to facilitate Bayesian reasoning and to further develop the teaching of Bayesian reasoning. (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)