Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border’s closures. The border’s visuality becomes a supporting argument for dissent and protest, giving the ‘visual evidence’ of the extremely quick border’s re-territoriality. As a result, important events allow one ‘to extracts sameness even from what is unique’ (W. Benjamin). The mass (...) migration and the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an ‘alien body’, and in the pandemic, with an ‘infected or sick body’. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell’s metaphor of ‘live images’ help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence. (shrink)

By examining the 5,413 illustrations provided in 33 introductory sociology textbooks published between 1982 and 1988, we explored the way textbook publishers in sociology pictorially construct images of gender and race. Individuals in a picture are coded for race and gender identity; each picture is coded for location in or outside the United States and for placement in 1 of 26 substantive topics. Although people of color were shown in numerically “fair” proportions, including Blacks seemed to be a way (...) of “staging” equality in the United States, while including other minorities appeared to offer “cross-cultural” comparisons to American society. Women accounted for only 36 percent of the individuals portrayed in these books, regardless of racial and ethnic category. Race and gender seemed to be conceptualized as nonoverlapping categories; White women “have” gender, while women of color apparently “have” only race. White men and boys occupied the center stage in these images of society; not only were more White men and boys presented than any other gender or race category, but they also received more exclusive attention and visually dominated the crucial institutions of politics and the economy. Although authors and publishers may strive to be fair, the way that race and gender representation is constructed in introductory sociology textbooks tends to reflect rather than critique popular American stereotypes. (shrink)

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

In this paper, I attempt to consider Jewish philosophy in opposition to the anti-ocularcentrism that defined the German Jewish philosophical tradition after Kant, namely the idea that Judaism—or at least its philosophical expression in Maimonidean philosophy—is aniconic and cognitively abstract. I do so by attempting to rethink the epistemic-veridical place of the imagination and visual experience in the Guide of the Perplexed . Once the imagination has been disciplined by reason, is there any cognitive status to an image or (...) sound that the eye or the ear perceives, and to that mental faculty that combines and recombines such impressions? Is the sight or sound of revelation a hallucination or just a mere figure of speech? Does it bear any relation to a spiritual reality external to the human mind and finite physical existence? To address these questions I explore the visual images, both iconic and aniconic-abstract, that distinguish the Guide . There is no getting past the visual imagination, although I am not sure Maimonides would have recognized it as such. Even when he leaves behind figurative visual cues such as the false image-work of the undisciplined imagination or the appearance of angels and images of God found in lower grades of prophecy, he turns to another visual register, namely the “abstract art“ of pure, dazzling light. In regard to these questions, Maimonides was more Greek than German, ascribing, cautiously, penultimate cognitive status to the visual imagination. (shrink)

In their study of reasoning with diagrammatic and non-diagrammatic representations, Larkin and Simon (1987) are concerned with _external_ representations and explicitly avoid drawing inferences about the bearing of their work on the issue of internal, mental representations. Nonetheless, we may infer the bearing of their work on internal representations from the theories of Kosslyn, Finke and other ‘pictorialists’ who take internal representations to be importantly like external ones regarding their ‘privileged’ spatial properties of depicting and resembling their referents. Thus, Finke (...) (1990) suggests that “perceptual interpretive processes are applied to mental images in much the same way that they are applied to actual physical objects. In this sense, imagined objects can be “interpreted” much like physical objects” (1990, p. 18). Elsewhere he suggests that “The image discoveries which then ‘emerge’ resemble the way perceptual discoveries can follow the active exploration and manipulation of physical objects” (1990, p. 171). (shrink)

In a recent response paper to Brogaard (2011a), Morten Overgaard and Thor Grünbaum argue that my case for the claim that blindsight subjects are not visually conscious of the stimuli they correctly identify rests on a mistaken necessary criterion for determining whether a conscious experience is visual or non-visual. Here I elaborate on the earlier argu- ment while conceding that the question of whether blindsight subjects are visually con- scious of the visual stimuli they correctly identify largely (...) is an empirical question. I conclude by sketching a method for testing whether blindsight subjects have visual con- sciousness of stimuli presented to them in their blind field. (shrink)

are needed on which the contending accounts deliver different predictions. The question of re-interpreting images can be seen.

The critical examination of the film American Beauty reveals characteristics illustrative of the form of culture coextensive with modern technological societies. This form of culture creates an imbalance favoring the aesthetical over the ethical dimensions of human orientation. Absorption into the aesthetical dimension of the electronic or digital visual image significantly reduces the capacity of culture to nurture a meaningful symbolic world. The relative absence of a meaningful symbolic world leaves both identity and social relationships without a foundation.

The structure of the deep artificial neural network is similar to the structure of the biological neural network, which can be well applied to the 3D visual image recognition of aerobics movements. A lot of results have been achieved by applying deep neural networks to the 3D visual image recognition of aerobics movements, but there are still many problems to be overcome. After analyzing the expression characteristics of the convolutional neural network model for the three-dimensional visual image (...) characteristics of aerobics, this paper builds a convolutional neural network model. The model is improved on the basis of the traditional model and unifies the process of aerobics 3D visual image segmentation, target feature extraction, and target recognition. The convolutional neural network and the deep neural network based on autoencoder are designed and applied to aerobics action 3D visual image test set for recognition and comparison. We improve the accuracy of network recognition by adjusting the configuration parameters in the network model. The experimental results show that compared with other simple models, the model based on the improved AdaBoost algorithm can improve the final result significantly when the accuracy of each model is average. Therefore, the method can improve the recognition accuracy when multiple neural network models with general accuracy are obtained, thereby avoiding the complicated parameter adjustment process to obtain a single optimal network model. (shrink)

Neuroscience hasn’t shown how quite similar sensory circuits encode quite different colors and other qualia, nor how the unified pictorial form of images is encoded, nor how these codes yield conscious images. Neuroscience’s fixation here on cortical codes may be the culprit. Treating conscious images partly as retinal substances may avoid these problems. The evidence for conscious retinal images is that (a) the cortical codes for images are quite problematic, (b) injecting retinas with certain genes (...) turns dichromats into trichromats without cortical help, (c) retinas can discern colors by themselves without cortex, (d) retinal distortions appear in images but cortical distortions don’t, (e) retinal detectors support finely detailed colors, but V4 detectors don’t, due to their big receptive fields, (f) retinal activity has pictorial form, but viable cortical codes for pictorial form don’t exist. So, the colors and unified pictorial form of images arguably arise mainly across arrays of retinal detectors—not from abstract cortical codes. Images may be hidden in retinal activity beyond what EEGs show of it (cf. Strawson’s monism). Also, cortex refines these retinal images but cortical impairment (anesthesia, lesions, etc.) blocks awareness of them, for they’re no longer accessible to the mind’s subject-centered consciousness, resident in cortex. This proposal is largely testable and based in recent evidence. It avoids neuroscience’s elusive, problematic coded images and enigmatic explanations of how they become conscious. (shrink)

Visual images are widely used in medical and patient education to enhance spoken or written explanations. This paper considers the role of such illustrations in shaping conceptions of the body; specifically, it addresses depictions of variant sexual anatomy and their part in the discursive production of intersex bodies. Visual language—even didactic, ‘factual’ visual language—carries latent as well as manifest content, and influences self-perceptions and social attitudes. In the case of illustrations about atypical sex development, where the (...) need for non-stigmatising communication is crucial, it is especially important to consider the implicit messages conveyed by imagery and compositional strategies. (shrink)

Introduction. Dying to see -- The anthropomorphic image : negotiations of space between body and landscape -- The imperfect replica : departures and arrivals from Naples to Nagasaki -- The visionary image : the return of the image from Brazil to Rome -- The utopic image : unsettling circuits between Chile and Rome -- Epilogue : The proliferation of the body : Francis Xavier in Goa.

In a society which traditionally valued the moral and expressive forces of art, landscape painting became one of the most esteemed art forms. In China, "landscape" has always meant what its Chinese name—shan shui —implies: paintings dominated by peaks and streams supplemented by trees, rocks, mists, and plunging waterfalls. Despite major changes in style, landscape painting in China between the eighth and eighteenth centuries was remarkably stable in subject matter. Chinese artists painted the natural settings which surrounded them in their (...) home provinces or those which they discovered in their travels; and such settings were dominated by mountains and rivers. Moreover mountains and water were imbued with symbolic value. Traditionally the mountain has been considered the symbol of the emperor—the son of Heaven—and of virtue and masculine energy. The ridges and folds of the mountains display the veins of energy that course through the earth and the continuous process of change which characterizes the Universe. Water represents the origin of life, the female principle, vitality itself. Trees, stones, bamboo, and many flowers were similarly endowed with cosmogonic and moral significance. Given the symbolic value with which elements of nature were traditionally endowed, Chinese landscape painting is properly considered the normative form through which artists reasserted correct social relationships, moral order among men, and moral order in nature. Esther Jacobson-Leong, associate professor of art history at the University of Oregon, is currently working on problems in the significance in Steppe art and related traditions. (shrink)

In this article we explore the relationship between semiotic analysis of images and quantitative analysis of vast image corpora, in particular the work produced by Lev Manovich and the Cultural Analytics Lab, called “Media Visualization.” Media Visualization has been chosen as corpus because of its metavisual operation (images are visualized and analyzed by images) and its innovating way of conceiving analysis: by visual instruments. In this paper semiotics is used as an approach to Media Visualization and (...) taken as an object of study as well, especially visual semiotics. In this sense, a comparison between visual semiotics (close reading of small corpora) and quantitative analyses of images (distant reading of vast collections) are conducted from a semiotic point of view. Post-Greimassian semiotics guides this study with respect to the issue of the image-within-an-image and metavisual visualization; Peircean semiotics is employed to explain and develop the notion of diagram. (shrink)

Representations of the active brain have served to establish a particular domain of competence for brain mappers and to distinguish brain mapping’s particular contributions to mind/brain research. At the heart of the claims about the emerging contributions of functional brain mapping is a paradox: functional imagers seem to reject representations while also using them at multiple points in their work. This article therefore considers a love-hate relationship between scientists and their object: the case of the iconoclastic imager. This paradoxical stance (...) is the result of the formation of an interdisciplinary approach that brings together a number of scientific traditions and their particular standards of what constitutes scientific evidence. By examining the various ways in which images are deployed and rejected, the origins of these conflicting tendencies can be traced to the technological, methodological, and institutional elements in the work of functional imagers. This approach provides insight into the current demarcation of imaging and reflects on features of visual knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Reader’s Eye: Visual Imaging as Reader ResponseCathleen M. BauschatzThe Reader’s Eye: Visual Imaging as Reader Response, by Ellen J. Esrock; xii & 241 pp. Baltimore: Johns Hopkins University Press, 1994, $36.50.Ellen Esrock’s The Reader’s Eye is a call for greater attention to the process of visual imaging in the study of readers and reading. Much of the book summarizes earlier research, showing the bias (...) against readerly imaging on the part of scholars who have viewed the reading process as solely cognitive and linguistic, rather than affective and visual.Part One summarizes some of these earlier views, finding phenomenological approaches the most friendly to visualization, while linguistic (semiotic) and psychoanalytic studies downplay its importance. Freudian approaches to reading, for example, view images as “hallucinations,” and value displacement from image to word. Lacan likewise minimizes the importance of imagery, despite the fact that concepts like the “mirror stage” could obviously benefit from visualization.The second part of the book summarizes recent advances in cognitive psychology, leading to the development of experimental tools for measuring readerly imaging. While late nineteenth-century psychology expressed interest in image-formation, behaviorism put a stop to this work. In the 1960s, interest in imagery returned, and with it the study of “mental maps,” verbal learning, and the role of the visual in memory. Esrock details the use of images in teaching children to read, but shows that this process has not been taken seriously in research on adults. The most promising direction in contemporary research, she finds, is the discovery that visualization and affective experience are interwoven. Considerations about the pleasure of reading, right/left brain function, and the role of the visual in psychosexual stages (readerly voyeurism, for example) are detailed here.The last chapter contains an interesting opposition between the objections of critic William Gass to readerly imaging and the use of visual images by writer Italo Calvino (Castle of Crossed Destinies, Invisible Cities). Esrock shows that it is almost impossible to interpret Calvino’s work without forming visual images.The conclusion finally presents the author’s case for the importance of visualization to both the cognitive and affective sides of the reading process. She admits the presence of differences among genres, authors, and readers, but still finds a set of general principles which should apply to all. Among these are the claims that imaging affects memory, that it clarifies spatial descriptions, and thus makes a fictional world concrete. Esrock calls for more attention to imaging by reader-response critics, classroom pedagogy, linguistics, and gender/cultural studies.The Reader’s Eye provides a solid history and summary of the current positions of a variety of fields on the hitherto neglected topic of readerly imaging. One criticism of the book might be that the author waits until the conclusion to [End Page 363] present her own findings, which occupy only twenty-seven of the volume’s 205 pages. Enthusiasts of this topic will hope that Professor Esrock may expand on some of these ideas in her next book.Cathleen M. BauschatzUniversity of MaineCopyright © 1995 The Johns Hopkins University Press... (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have (...) most enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the (...) digital image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)