Inevitável para um mais amplo conhecimento das práticas artísticas setecentistas, analisar a influência exercida pela pintura na concretização de objectos escultóricos afigura-se da maior pertinência. Áreas que se relacionam por via do papel desempenhado pelos pintores no desenho de escultura, se, no panorama internacional, o fenómeno tem despertado algum interesse, já no contexto português, apesar de aceite e até referido como corrente, tem sido praticamente ignorado.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pictorial World of the ChildEllen Handler SpitzThe Pictorial World of the Child, by Maureen Cox. Cambridge: Cambridge University Press, 2005, 357 pp., paper.Scholarly, informative, and impartial are adjectives that spring to mind with respect to Maureen Cox's book, The Pictorial World of the Child, a text principally but not exclusively devoted to the subject of children's drawings and to ways in which children seem (...) to understand pictorial representations as well as create them. Because of its clarity and comprehensiveness, this book seems well-suited for classroom use. Effectively organized into a cogent selection of significant subtopics, it summarizes and presents a vast array of contributions by colleagues whose work Cox surely respects and treats in an admirably evenhanded way. Since, as she states at the beginning of her book, a serious scholarly interest in children's pictures has been with us for over a century, her task is prodigious, and she accomplishes it with grace and precision. It is perhaps to her credit that Cox does not argue passionately on one side or another of a host of thorny issues in her field about which many scholars, teachers, and theorists seem to exhibit strong one-sided views. How should art be taught to young children, for example? Should they be given total freedom or required to perform an ordered set of tasks? In every case, Cox offers her readers a panoply of perspectives and invites them to entertain the spectrum of opinion and then decide for themselves or not.The book is written, therefore, as far as I can tell, to promulgate no particular thesis of any kind. It simply is what it purports to be, namely, an overview of the field by someone who has a deep knowledge of it. It informs and educates through its systematic citation of experimental situations, test results, evaluations, neurological research, art historical material, and the like, and, while acknowledging disagreements right and left, it does not enter into philosophical debate. If one were inclined to fault the book at all, one might criticize it for this—that is, for lacking sufficient skepticism and deep questioning. But surely that would be niggardly, for nowhere does Cox state philosophizing to be her purpose in these pages. I would argue, in fact, to the contrary—that Cox underestimates herself when she states as her principal aim merely the furthering of interest in and appreciation of children's drawings (7). To my mind, she goes far beyond that modest goal to enlighten and educate her readers.Let me give some examples of Cox's treatment of controversial topics. It is arguable, for example, as to whether or not young children understand representational duality and can tell the difference between a pictured representation and the object pictured. A broad spectrum of research, claims, and beliefs are citable on both sides here, with the most up-to-date [End Page 110] scholars being persuaded that young children are far more sophisticated than we had previously thought. But conjure up, if you will, on the other side that well-known photograph in which a baby holds a picture of a clock to his ear and tries to hear it ticking. (This image, subtitled "How they read it," was printed on the jacket of Mary Calderone and Edward Steichen's The First Picture Book of 1930, which was reissued by the Frances Mulhall Achilles Library at the Whitney Museum of American Art, New York, in 1991.) After citing numerous sources and experiments, Cox equivocates as follows: "It seems that young children may know the difference between a picture and the real object it represents, but their behaviour is often confusing" (25); to me, this seems exactly right. We simply cannot accept a blanket statement meant to cover all cases, and, as with many or even most of the topics under consideration in this book, there are no definitive answers. Thus, the fact that Cox chooses to present intriguing research but leave the conclusions open seems preferable to joining sides in a spurious debate and one, perforce, with huge cultural and historical contingencies, contingencies to which indeed she pays heed from time to time... (shrink)

After invention of writing, this new innovation jointed images, and writing together with painting became able to transfer human’s information and ideas. During the Islamic period, simultaneously with the widespread use of paper in painting and calligraphy, a kind of painting developed that is called as miniature.The illustrated inscription of Iran in Islamic period have different type of political,cultural historical and etc information .The informations are important to historians ,archaeologists and other scientists. The Purpose of writing this essay is to (...) introduce the pictorial inscription “Shahname of Baysongor Merza” as a historical, archaeological source of taymourid period. In addition, importance of this pictorial inscription in Archaeology and History interpretions will be expressed. (shrink)

Summary Gessner's sources for the pictures in his Historia animalium were varied in kind and in quality. This should be understood within the larger context of the Historia animalium in which Gessner sought to collect everything ever written about animals, an enterprise that could not be completed by a single individual. Just as Gessner did not distil or reduce similar texts but retained these as well as contradictory or false textual descriptions as part of a repository of knowledge, so (...) also Gessner included several pictures of the same animal, false or badly drawn ones, and juxtaposed erroneous and ?true? images. The attribution of images to witnesses and correspondences also reflects Gessner's strategy to credit those who drew his attention to new information first. The sources of Gessner's images thus indicate how his visual world encompassed more than the strictly self-observable, and a pictorial practice that was intimately connected with textual traditions and intellectual networks. (shrink)

The subject of the study is the cultural code "Rimon", covering phytomorphic symbolic images in the Jewish pictorial semiosis. The object of the study is the traditional symbolism in the pictorial practice of the Jews of the Crimea. The article uses the methods of semantic and semiotic analysis in deciphering the meanings of plant symbols of the pictorial semiosis of the Jews of the Crimea, the method of analysis of previous studies, the method of synthesis in structuring (...) groups of signs. The authors consider the following aspects of the topic: the codes of the pictorial semiosis of the Jews of the Crimea are designated, their morphology, semantics, key meanings and the main code are substantiated. The phytomorphic Rimon code and its features are considered in detail. The main conclusions of the study are: 1. As a result of studying the traditional culture of the Jews of the Crimea, five main codes of the Jewish pictorial semiosis were identified, covering the following groups of symbols: skewomorphic (subject), phytomorphic (plant), zoomorphic (animal), numeric. The source of all codes and the generalizing code is the Sefer code (Book). The interrelationships between the codes, four key meanings – Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of the code system is defined – the Torah and Aron Hakodesh, as a repository of the Torah. 2. The considered phytomorphic code Rimon is a symbolism of traditional images of plants, the mention of which is found in the Torah, as well as in the Talmud and Midrash. The images of plants in the Jewish reading convey the meanings of human virtues and negative qualities, and also indicate the Messianic hopes laid down in the Torah and especially in the Midrash of the Talmud.The scientific novelty of the study consists in the fact that for the first time a semantic-semantic analysis was carried out and the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined, with an emphasis on the Rimon code. (shrink)

In several sign languages, plurals can be realized with unpunctuated or punctuated repetitions of a noun, with different semantic implications; similar repetition-based plurals have been described in some homesigns and silent gestures. Unpunctuated repetitions often get approximate ‘at least’ readings while punctuated repetitions typically correspond to ‘exactly’ readings. The prevalence of these mechanisms could be thought to be a case in which Universal Grammar does not just specify the abstract properties of grammatical elements, but also their phonological realization, at least (...) in the visual modality. We explore an alternative in which punctuated and unpunctuated repetitions arise from general properties of iconic representations. On an empirical level, we argue that in ASL, punctuated and unpunctuated repetitions are unlikely to be an exclusively grammatical mechanism, as they can be found with purely iconic representations. On a theoretical level, we argue for a modular account with three components. First, repetition-based plurals can create a simplified pictorial representation. Second, unpunctuated repetitions give rise to pictorial vagueness, resolved by way of quantification over precisifications. Third, a pragmatic process involving strategic reasoning maps these vague representations onto a set of candidate linguistic meanings, including some ‘at least’ plural readings that are best expressed by unpunctuated repetitions. (shrink)

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – (...) early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized. (shrink)

OBJECTIVE: Following two randomized controlled trials that demonstrated reduced mortality and better neurological outcome in cardiac arrest patients, mild therapeutic hypothermia was implemented in many intensive care units. Up to now, no large observational studies have confirmed the beneficial effects of mild therapeutic hypothermia. DESIGN: Internet-based survey combined with a retrospective, observational study. PATIENTS: All patients admitted to an intensive care unit in The Netherlands after cardiac arrest from January 1, 1999 until January 1, 2009. DATA SOURCE: Dutch National Intensive (...) Care Evaluation database. METHODS: The moment of implementation of mild therapeutic hypothermia for each hospital participating in the Dutch National Intensive Care Evaluation database was determined with an Internet survey. To compare mortality before and after implementation of mild therapeutic hypothermia, the odds ratio adjusted for Simplified Acute Physiology Score II score, age, gender, propensity score, and in- or out-of-hospital cardiac arrest was calculated. Patients were excluded if 1) they were admitted to an intensive care unit that did not respond to the survey, 2) they were admitted within 3 months after implementation of mild therapeutic hypothermia, 3) they had a Glasgow Coma Scale score of >8, or 4) they did not satisfy the Simplified Acute Physiology Score II inclusion criteria. INTERVENTIONS: None. MEASUREMENTS AND MAIN RESULTS: A total of 13,962 patients were admitted to an intensive care unit following cardiac arrest. In total 8,645 patients were excluded, 5,544 because of a Glasgow Coma Scale score of >8. Of the resultant 5,317 patients, 1,547 patients were treated before and 3,770 patients after implementation of mild therapeutic hypothermia. Patients admitted after implementation of mild therapeutic hypothermia had lower minimal and maximal temperatures (p < .0001) during the first 24 hrs on the intensive care unit compared to patients admitted before implementation of mild therapeutic hypothermia. The adjusted odds ratio of the hospital mortality of patients treated after implementation of mild therapeutic hypothermia was 0.80 (95% confidence interval of 0.65-0.98, p = .029). CONCLUSION: The results of this retrospective, observational survey suggest that implementation of mild therapeutic hypothermia in Dutch intensive care units is associated with a 20% relative reduction of hospital mortality in cardiac arrest patients. (shrink)

In a remarkable development, I have constructed a new definition for a self-delimiting universal Turing machine (UTM) that is easy to program and runs very quickly. This provides a new foundation for algorithmic information theory (AIT), which is the theory of the size in bits of programs for selfdelimiting UTM's. Previously, AIT had an abstract mathematical quality. Now it is possible to write down executable programs that embody the constructions in the proofs of theorems. So AIT goes from dealing with (...) remote idealized mythical objects to being a theory about practical down-to-earth gadgets that one can actually play with and use. (shrink)

An Impartial Collection of the Great Affairs of State was published in London, in two volumes, between 1682 and 1683. Its author John Nalson was a fervent believer in the twin pillars of the monarchy and the Anglican Church. In An Impartial Collection he holds up the internecine conflict of the 1640s as an example not to be followed during the 1680s, a period of further religious and political upheaval. Nalson’s text is anything but neutral, and its perspective is neatly (...) summarised in the engraved frontispiece which prefaces the first volume. This article examines how this illustration, depicting a weeping Britannia accosted by a two-faced clergyman and a devil, adapts and revises an established visual vocabulary of ‘otherness’, implying disruption to English lives and liberties with origins both foreign and domestic. Such polemical imagery relies on shock value and provocation, but also contributes to a sophisticated conversation between a range of pictorial sources, reshaping old material to new concerns, and raising important questions regarding the visual literacy and acuity of its viewers. (shrink)

Four experiments were conducted to evaluate explanations of picture superiority effects previously found for several tasks. In a process dissociation procedure with word stem completion, picture fragment completion, and category production tasks, conscious and automatic memory processes were compared for studied pictures and words with an independent retrieval model and a generate-source model. The predictions of a transfer appropriate processing account of picture superiority were tested and validated in “process pure” latent measures of conscious and unconscious, or automatic and source, (...) memory processes. Results from both model fits verified that pictures had a conceptual processing advantage over words for all tasks. The effects of perceptual compatibility depended on task type, with pictorial tasks favoring pictures and linguistic tasks favoring words. Results show support for an explanation of the picture superiority effect that involves an interaction of encoding and retrieval processes. (shrink)

Shadow pictures radically changed the modern understanding of pictorial concepts. Tim Otto Roth’s broadly based cultural history traces the consequences of this revolution of methods of vision and image production in the sciences and the arts. By means of abundant image and text sources he develops a picture theory based on physics and projective geometry. This definitive book comprising 500 pages provides a generally understandable and vivid insight in the history of shadowgraphs from the 19th century until the (...) present age. A crucial role play scientific processes as the X-ray technique, but also the artistic examination of space and body. (shrink)

_ Source: _Volume 45, Issue 2, pp 288 - 302 In this paper I intend to show that Merleau-Ponty’s conception of movement as primordial expression, whereby movement is a shaping force that can be discerned in the forms it creates, allows us to go beyond the superficial definition of movement as “change of place” and discover its most essential characteristic: that is the expression of a motion—intrinsic to feeling—which can take on the form of either a generative thrust or an (...) act that traces out and sheds light on the reserve of shapes that everything we have felt has silently traced within us. My argument will unfold in three main stages. First, I intend to show that from Merleau-Ponty’s reflections on pictorial movement there emerges a richer and more refined definition of movement that brings together the two meanings of Aristotelian dunamis : potentia passiva, or being acted upon, and potentia activa, or tending towards act. Second, I will show that this particular understanding of movement allows us to uncover the lived dimension of movement that is intrinsic to sense experience and enacts the metamorphosis of our impressions into the expression that reveals to us the carnal obverse [envers charnel] of our experiences of the visible world. Finally, I will show that this particular understanding of movement proves to be a strategy for thinking of both the emergence of sense within the flesh of the world and the advent of history that unravels at its heart. (shrink)

Pictures are a quintessential source of aesthetic pleasure. This makes it easy to forget that they are epistemically valuable no less than they are aesthetically so. Pictures are representations. As such, they may furnish us with knowledge of the objects they represent. In this article I provide an account of why photographs are of greater epistemic utility than handmade pictures. To do so, I use a novel approach: I seek to illuminate the epistemic utility of photographs by situating both photographs (...) and handmade pictures among the sources of knowledge. This method yields an account of photography's epistemic utility that better connects the issue with related issues in epistemology and is relatively superior to other accounts. Moreover, it answers a foundational issue in the epistemology of pictorial representation: I argue that photographs have greater epistemic utility than handmade pictures because photographs are sources of perceptual knowledge, while handmade pictures are sources of testimonial knowledge. (shrink)

The surviving pictorial hagiographical cycles of St Panteleimon were executed in the period between the 10th and 15th centuries. The most elaborate one is on a vita icon, consisting of sixteen scenes, at the monastery of St Catherine, Mt. Sinai and is at the centre of this research. The painter used the Passion of St Panteleimon by Symeon Metaphrastes as a main textual source for its creation. In addition, we may presume that the iconography of the images was influenced (...) by other existing pictorial cycles of the life of the saint. Also, the selection of the images, included in the saint's cycle, reflects the devotional needs and wishes of the unknown donor. (shrink)

An analysis of the sources of Wittgenstein’s picture theory — which include not only his moment of insight on reading a magazine story about the use of models in a traffic court, but also the work of Russell, Hertz, and Boltzmann — provides the basis for an exploration of Wittgenstein’s articulation of a pictorial conception of representation in his wartime notebooks and its crystallization in the Tractatus. A discussion of Wittgenstein’s later criticism of the picture theory and his (...) notion of a “philosophical picture” illustrates the fundamental reversal in his transition to his later conception of philosophy: instead of taking literal pictures as a guide to the nature of meaning, he came to regard philosophical theories as akin to expressing an aesthetic preference for a certain style of representation. Wittgenstein’s treatment of factual language in the picture theory is related to his Tractarian approach to logical form, and the role of the show/say distinction in his early conception of logic and language. Particular attention is given to the difficulties generated by the idea that the conditions for the possibility of a given domain of discourse cannot be described in language, but must be shown by the form of words in question. (shrink)

Everyday (mis)uses of deepfakes define prevailing conceptualizations of what they are and the moral stakes in their deployment. But one complication in understanding deepfakes is that they are not photographic yet nonetheless manipulate lens-based recordings with the intent of mimicking photographs. The harmfulness of deepfakes, moreover, significantly depends on their potential to be mistaken for photographs and on the belief that photographs capture actual events, a tenet known as the transparency thesis, which scholars have somewhat ironically attacked by citing digital (...) imaging techniques as counterexamples. Combining these positions, this paper sets out two core points: (1) that conceptions about the nature of photography introduce imperatives about its uses; and (2) that popular cultural understandings of photography imply normative ideas that infuse our encounters with deepfakes. Within this, I further raise the question of what moral ground deepfakes occupy that allows them to have such a potentially devastating effect. I show that answering this question involves reinstating the notion that photographs are popularly conceived of as transparent. The rejoinder to this argument, however, is that to take the sting out of deepfakes we must, once again, become skeptical of the veracity of all images, including photoreal ones. This kind of critical mindedness was warranted before the invention of photography for both pictorial imprints and written accounts from various media sources. Given this, along with the fact that photographic trickery is nothing new, deepfakes need not push us into a post-truth epistemic abyss, for they imply a decidedly old turn. (shrink)

The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature of (...) pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary. (shrink)

This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference from (...) style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

This volume of collected papers, with the accompanying essays by the editors, is the definitive source book for the work of this important experimental psychologist. Originally published in 1991, it offered previously inaccessible essays by Albert Michotte on phenomenal causality, phenomenal permanence, phenomenal reality, and perception and cognition. Within these four sections are the most significant and representative of the Belgian psychologist's research in the area of experimental phenomenology. Extremely insightful introductions by the editors are included that place the essays (...) in context. Michotte's ideas have played an important role in much research on the development of perception, and his work on social perception continues to be influential in social psychology. The book also includes some lesser-known aspects of his work that are equally important; for example, a remarkable set of articles on pictorial analysis. (shrink)

This paper examines reports of Eremya Çelebi Kömürcüyan (1637 – 1695) and Luigi Fernando Marsili (1679/80 in İstanbul) on three churches still existing in the late seventeenth century. Their topographical informations are compared with early pictorial representations of Constantinople/İstanbul (Hartmann Schedel, 1493; Giovanni Andrea Vavassore, c. 1530/50; Onufrio Panvinio, 1600; Pîrî Reis, 16th century; Franceso Scarella, c. 1686) in order to check whether the churches can be identified with those depicted here. The church of Aya Yani (St John) mentioned (...) by Eremya Çelebi must have been located south of the Stable Gate (Ahırkapı). Marsili describes a church near the Sultan’s stables and a further one inside the Seraglio Garden. The location of the stables can be determined using the İstanbul-view from Matrakçı Nasuh (1537). The church of Aya Yani and „the church near the stables“ must therefore be identical. In Schedel’s illustration, the church in the Seraglio is erroneously designated as S. Grovus, whereas on the Düsseldorf copy after Buondelmonti’s Liber insularum Archipelagi (1485/90) it is labelled s. Maria. The building can be identified with the church of the Theotokos of the Hodegoi Monastery. Regarding the church depicted on the vedute of Vavassore and Panvinio in the former area of the imperial palace, the thesis already established by Cyril Mango is maintained, according to which the remains of the Nea Ekklesia can be seen here. Little is known about the original form of the Nea Ekklesia, but there is evidence from written sources that it was erected above substructures with underground spaces that were open to the public. If the church that Eremya Çelebi saw south of the Stable Gate, while Marsili located it near the Sultan’s stables, can be identified with the Nea Ekklesia, as suggested in this essay, then considerable remains of the building must have been still present at the end of the seventeenth century. (shrink)

Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with individual (...) anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial (...) representation of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial (...) representation of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

Trade cards were a means of advertising products or services and thereby attracting customers to the owner's shop. They often included a variety of details about the proprietor and his business, and illustrated his wares. Cards for the scientific instrument industry depicted all classes of instrument and the products from which they were made. A careful study of the cards can reveal much supplementary information about the way the industry worked, so their use, and limitations, as a source of historical (...) evidence is discussed in detail. Over sixty English trade cards from London and the provinces, covering the period 1670 to 1900, are illustrated . By careful analysis, it is shown that aesthetic style and type-face design, combined with written and pictorial content, may be used to deduce dates and business practices. Many small pieces of information gradually build a complex picture of an important and fascinating industry. (shrink)

_Essays on Wittgenstein and Austrian Philosophy_ is presented for the 60th birthday of professor Christoph Nyíri. The essays presented here for the first time are focused on Austrian intellectual history, and on Wittgenstein’s philosophy – the two main areas of Professor Nyíri’s interests. Typically, the contributors are outstanding scholars of the field, including among others David Bloor, Lee Congdon, Newton Garver, Wilhelm Lütterfields, Joachim Schulte, Barry Smith. The volume is of primary interest for Wittgenstein scholars and those studying the 19th (...) and 20th century Austrian intellectual history. As the volume is presented for Professor Nyíri, the papers collected here reflect his interests in Wittgenstein and Austrian philosophy. Beginning with an introductory chapter on Nyiri’s achievements in this field of scholarship, the volume is in four parts. The first part contains essays on Austrian philosophy broadly understood, more precisely on its socio-historical context (Barry Smith and Wolfgang Grassl), on the relation between Marxism and Arnold Hauser’s philosophy and sociology of art (Lee Congdon), and Neurath’s connection to naturalistic epistemologies (Thomas Uebel). The second part presents Wittgenstein's philosophy in context. Jaakko Hintikka’s paper argues that Wittgenstein’s probable dyslexia can be seen as an external influence on and a source of his philosophy. David Bloor discusses Wittgenstein’s philosophy in the context of Edmund Burke’s conservatism, which can be read as a background of Nyiri’s influential interpretation of Wittgenstein as a conservative philosopher. Newton Garver also touches on the problem of conservatism while discussing passages of _On Certainty_ in the context of Kant, Moore, and T.S. Eliot. Klaus Puhl’s essay connects Wittgenstein’s remarks on rule-following to Freud’s concept of retroactivity, and argues that rules emerging from empirical regularities can be seen as retroactive constructions. The papers in the third part of the volume offer close readings of Wittgenstein’s works. Rudolf Lüthe offers two readings of Wittgenstein’s criticism of philosophy in the _Tractatus_ can be read in two ways with different consequences, among them is the appearance of philosophy inspired by art rather than the sciences. Joachim Schulte offers an interpretation of Wittgenstein’s use of ’natural history’ that can accommodate all of his remarks containing this concept. Herbert Hrachovec discusses the relation of pictorial and linguistic representations in Wittgenstein’s _Nachlass, _arguing that there is no pronounced opposition between the two. The forth part of the book, containing three papers in German, continues the close inspection of Wittgenstein’s later works. Wilhelm Lütterfelds reconstructs Wittgenstein’s philosophy of time as pointing out memory being the very source of time. Katalin Neumer inspects Wittgenstein’s frequent references to photographs in the context of aspect-seeing and compares them with other remarks on theatre, painting, and music. She concludes that there are no philosophically important structural differences between them. Peter Keicher’s paper offers a comprehensive view on Wittgenstein’s prefaces in the context of his various book-projects. The volume ends with a select bibliography of Professor Nyiri’s works. (shrink)

Ancient Greek visual representations of the recovery of Helen by Menelaos are generally thought to depend closely on two distinct poetic sources. This paper argues that this belief is untenable. The principal theoretical assumption underlying it, that there will always be a close fit between ancient Greek poetic and artistic representations of a given story, is not the only conceivable relationship between poetry and art in Archaic and Early Classical Greece. The empirical evidence advanced to support the belief, the (...) occurrence of similar motifs in both the poetic sources and the visual representations, is strained: scholars have read into the pictures motifs or intentions, including nudity and seduction, that are known from literature but have not been given unambiguous visual form in the pictures. This paper argues that the relationship between the artistic and literary representations of the recovery of Helen is much more distant and less direct than most scholars have thought. The same general story underlies all the pictorial representations of the subject in the Archaic and Early Classical periods, but no specific poetic source was necessarily behind the story circulating among the artists. This study draws attention, in particular, to methods of storytelling that are unique to the visual arts. It addresses in detail one of the most striking and problematic aspects of the iconography of the recovery of Helen, the variety of physical settings of the event, and argues that the pictorial elements of setting provide important narrative information that verbal narratives would convey in a different way. (shrink)

Diagrams are hybrid entities, which incorporate both linguistic and pictorial elements, and are crucial to any account of scientific and mathematical reasoning. Hence, they offer a rich source of examples to examine the relation between model-theoretic considerations and linguistic features. Diagrams also play different roles in different fields. In scientific practice, their role tends not to be evidential in nature, and includes: highlighting relevant relations in a micrograph ; sketching the plan for an experiment; and expressing expected visually salient (...) information about the outcome of an experiment. None of these traits are evidential; rather they are all pragmatic. In contrast, in mathematical practice, diagrams are used as heuristic tools in proof construction ; notational devices; and full-blown proof procedures. Some of these traits are evidential. After assessing these different roles, I explain why diagrams are used in the way they are in these two fields. The result leads to an account of different styles of scientific reasoning within a broadly model-based conception. (shrink)

A peculiarity of early medieval geometrical texts was that alongside Euclid's Elements they transmitted remnants of the corpus of Roman land surveyors and metaphysical digressions extraneous to geometry proper. Rather than dismissing these additions as irrelevant, this essay attempts to elucidate the cultural grounds for the indiscriminate mixture of the three disciplines -- geometry, surveying, and metaphysics. Inquiry into the broader context of early medieval culture suggests that neither geometry nor surveying was treated as an independent discipline. Texts on geometry (...) and surveying were studied mainly because they were thought to provide good opportunities for enlarging the scope of meditation on spiritual subjects. Accordingly, the main concern of this essay is to show how Christian symbolism influenced both the composition and the study of geometrical texts. The essay is based on a wide range of sources: treatises on geometry and surveying, pictorial representations of Creation, and philosophical literature in which geometry was used in arguments about ontological doctrines. (shrink)

The use of words to label concepts is a weak point in CMT but one which is little discussed. This article considers the relative merits of image and writing as semiotic modes for identifying conceptual metaphor domains and whether image can offer an alternative to target is source formulae. It reports on an experiment in which MA translation students draw composite drawings to represent orientational metaphoric aspects of a UK government press release. Conventional metaphoric language deriving from the orientational metaphors, (...) especially good is up/bad is down, plays a significant role across this text, forming a “metaphor chain” pattern. The drawings and post-task interviews with the participants reveal details of the internal structure of the source domain up and how it is conceptualized. Particularly of note is the strong horizontal forward aspect of orientation which emerges when the written text is represented pictorially. The article demonstrates how drawing can be used as a tool in metaphor-led discourse analysis. (shrink)

This article, corresponding to a part of the restitution of a financed international research project between France, Brazil, Canada, Italy and Belgium, aims to offer a modelisation and qualitative evaluation of mediation care settings based on an original methodological tool that involves identifying the typical games at the foundations of creativity, following a multidisciplinary perspective. Therapeutic mediations are settings or devices organised around a “pliable medium”, often artistic, like painting, modeling, writing, ​and theatre, which are very widespread in institutional practices, (...) both in France and abroad. The scientific objectives of this research consist in a multi-disciplinary exploration (anthropology, criminology, neuroscience, clinical psychology) of the process of creative symbolisation understood as a process of transformation involving play. According to this orientation, play can be defined as a psychic process whereby a subjective experience can be explored with pleasure, and consequently symbolised and appropriated. Our fundamental and original hypothesis is that play is at the source of the creative process, conceived as a work of metabolisation by the psyche of playful experiences during the different stages of life. The review of the understanding of play in psychoanalysis, anthropology, criminology and neuroscience emphasises the richness of this model and the importance of reflecting on the typical games in the field of psychic care. A clinical example of treatment in a pictorial therapeutic mediation setting of a child with psychotic disorders makes it possible to identify a number of typical games as well as the modalities of interpretation of the therapists through play. These multidisciplinary studies lead to the presentation of a general table of typical games, and these first results highlight the richness of identifying typical games in clinical settings. Ultimately, the multidisciplinary approach shows the interest of the model of play in the evaluation of therapeutic mediation settings, with a convergence of the different disciplines emphasising the pertinence of this model. The scientific impact of this research overlaps with its societal impact, through the development of innovative tools for evaluating therapeutic mediations, in order to take account of the evolution of the different forms of social expression of psychic suffering. (shrink)

The wide consensus in research with regard to the modernity of keeping companion animals lies behind the prevailing conclusions about attitudes toward the canine species in pre-modern societies. These were reviewed mainly from a utilitarian perspective. Characterized, in part, by the protective shelter of the extended household and, as such, free of the tensions affecting the nuclear family in industrial cities, pre-modern societies supposedly lacked in the emotional stress and indigence that condition or encourage dog keeping. A careful examination of (...) the sources, both narrative and pictorial, however, suggests more ambivalent attitudes thus challenging widespread research premises and justifying further analysis. This study, covering rural and urban societies in the ancient and medieval periods, examines references to dogs as companion animals in traditional societies. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

The essay examines the function and the meaning of documentary images by examining the geological image collection of the Swiss natural philosopher Conrad Gessner. Gessner?s interest in pictorial documentation can only be understood in the context of his special interest in the formal aspects of nature. His approach marked a turning point in the history of natural philosophy and would be unthinkable without the pictorial techniques used to collect and document the objects of his research. By reconsidering philosophical (...) definitions of form and matter, he set geoscience on a new philosophical foundation. This reorientation is closely connected to the metaphysics of nature. Both aspects were essential to the establishment of a new scientific approach, in which the old epistemological technique of studying texts was coupled to a new source of knowledge: the study of images. (shrink)

Space—an essential dimension of our life—is analyzable from different viewpoints, which often gives rise to contrasting conceptualizations. Perceptual analyses shed light on the intrinsic anisotropy and deformations of perceived space, raising the issue of which geometry may be able to represent perceptual space. Pictorial drawings and painting have been relevant sources of information about the nature of living and perceived space. Although the geometry of perceptual space is still in its infancy, contributions are beginning to appear. This special (...) issue contributes to the development of the geometry of perceptual space. (shrink)

ABSTRACTThis study examines the types of verbal, pictorial, and multimodal metaphors in the genre of sex education picture books for young children in Mainland China. Although being an educational discourse genre that is essentially concerned with transmitting scientific facts, sex education picture books employ a range of metaphors that categorize and construe the biological knowledge of human reproduction in a way that not only facilitates young children’s understanding of scientific concepts but also instills in them particular values and moralities (...) that are socioculturally conditioned. An examination of the source domains from which the metaphors are drawn and the target domains onto which the metaphors are mapped reveals three types of metaphor, namely, personification, domestication, and cross-experience metaphors. The analysis of seven sex education picture books for pre-school children suggests that these types of metaphor are used purposefully for addressing pedagogical as well as ideological con... (shrink)

"Art history and art theory are inseparable. A history of art can be achieved only through the simultaneous construction of a theory of art." These words of the eminent scholar and critic Louis Marin suggest why he considered the paintings and the writings of Nicolas Poussin, painter and theoretician of painting, an enduring source of inspiration. Poussin was the artist to whom Marin returned most faithfully over the years. Since Marin did not live to write his proposed book on Poussin, (...) the ten major essays in this volume will remain his definitive statement on the painter who inspired his most eloquent and probing commentary. At the center of Marins inquiry into Poussins art are the theory and practice of "reading" paintings. Rather than explicate Poussins work through systematic textual and iconographic analysis, he sets out to explore a cluster of speculative questions about the meaning of pictorial art: Can painting be a discourse? If so, how can that discourse be deciphered? Marins horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painters career or his relationship with his artistic predecessors. For example, he positions several of Poussins best-known landscapes with respect both to French seventeenth-century debates on the question of the sublime and to the philosophical tradition of reflection on the sublime. Among the topics Marin studies are the tempest as a major figure of the sublime in Poussins work, the presence of ruins in the paintings, Poussins use of the concept of metamorphosis, and the frequent presence of sleeping bodies in the work. The Poussin who emerges in these essays is preeminently a philosopher-artist whose painterly discourse embodies the limits of thought and of representation. (shrink)

In this article, I argue, adverting to critical practices, that film adaptations are comparable with the comics that serve as their sources. The possibility of comparison presumes the existence of covering values according to which these comparisons are made. I raise four groupings of covering values for comics—narrative, pictorial, historical, and referential—and show how they apply to film adaptations as well, and argue that a fifth kind of value, fidelity, is relevant to comparisons of source comics to film (...) adaptations. I close with a discussion of different types of fidelity that might be brought to bear in evaluation. (shrink)

The paper discusses aspects of the iconographical development and the possible reasons for the depiction of the sun god in North India in Buddhist as well as Brahmanical contexts prior to the third and fourth centuries. It demonstrates that by employing careful art historical analysis of the images themselves and, whenever possible, their position in the larger context of a pictorial program, these images can be valuable resources in their own right for a deeper understanding of the notions connected (...) to and transmitted by these images—particularly if neither inscriptions nor other literary sources are directly related to them. (shrink)

The paper discusses aspects of the iconographical development and the possible reasons for the depiction of the sun god in North India in Buddhist as well as Brahmanical contexts prior to the third and fourth centuries. It demonstrates that by employing careful art historical analysis of the images themselves and, whenever possible, their position in the larger context of a pictorial program, these images can be valuable resources in their own right for a deeper understanding of the notions connected (...) to and transmitted by these images—particularly if neither inscriptions nor other literary sources are directly related to them. (shrink)

The concept of aerial perspective has been used for the first time by Leonardo da Vinci (1452-1519). This article studies its dependence on Ptolemy’s Optica and overall on the optical tradition inaugurated by Ibn al-Haytham’s Kitāb al-Manāẓir (d. after 1040). This treatise, that was accessible through several Latin and Italian manuscripts, and was the source of many Medieval commentaries, offers a general theory of visual perception emancipated from the case of the moon illusion, in which physical and psychological factors are (...) closely combined. Atmospheric extinction (not refraction, which it is sometimes confused with) affects the conjectured size of remote objects. This phenomenon is also the core source for a pictorial rendering of depth, that is based onto a principle different from the diminution of size. (shrink)

This article proposes a form of visual narrative that fuses authoring and data within a unified paradigm called the ‘visual image data field’. A structure with multidimensional connections in a fluid environment that self-reflexively responds to its own usage supports the future language of visual sources. The intuitive gestures and curiosity that drive visual knowledge similarly drive development of this organic architecture. Diffusing iconic images that are shorthand for conveying historical trends makes this type of unambiguous expository reading obsolete (...) as images are embedded within the rich image fields native to digital media. A topsy-turvy game of images upsets the dominance of iconic images most frequently reproduced in text-based media and redistributes meaning across a pictorial array. Meaning not only changes according to the juxtaposition of images, but also emerges from the cracks between similar scenes. Images in relationship to other images acquire a granularity that deepens meaning by adding different qualities – less narrative and quantifiable – of understanding. If images become the ‘narremes’ or grammatical elements in a visual narratology, then meaning emerges from their sequencing and re-sequencing. (shrink)