law's oscillation between power and meaning -- Law's screen life : visualizing law in practice -- Images run riot : law on the landscape of the neo-baroque -- Theorizing the visual sublime : law's legitimation reconsidered -- The digital challenge : command and control culture and the ethical sublime -- Conclusion : visualizing law as integral rhetoric : harmonizing the ethical and the aesthetic.

The proliferation of digital technology has changed our visual perception and the way we interpret terms such as 'representation', 'immersion', and 'virtuality'.0Kresimir Purgar examines some of the topics fundamental to an understanding of the contemporary culture of images. The principal thesis of this volume is that we are witnessing the transitional period of images as not-representation-anymore and not-yet-immersion. Instead of just asking what images mean, we should ask ourselves what images are, how they appear, and what (...) they do to us. The author proposes the comprehensive concept of "pictorial appearing" that takes into account phenomenological, semiotic, and art-historical perspectives on both old and new images. (shrink)

This article is about time. It is about time, or more precisely, about the absence of time in law’s digital future. It is also about time travelling and the seemingly ever-popular BBC science fiction television series Doctor Who. Further, it is about law’s timefullness; about law’s pictorial past and the ‘visual baroque’ of its chronological fused future. Ultimately, it is about a time paradox of seeing time run to a time when time runs ‘No More!’ This ‘timey-wimey’ (...) article is in three parts. The first part looks to a hazy remembered past of the legal emblem tradition as presented in Peter Goodrich’s Legal Emblems and the Art of Law to learn visual literacy and also to glimpse the essential elements of modern legality with authority, decision and violence. The second part maps how these images and icons of modern legality are manifest in the Doctor Who fiftieth year anniversary special ‘The Day of the Doctor.’ The third stage looks beyond these first order meanings to understand the chronological chaos of ‘The Day of the Doctor.’ The technicity of the image as a portal through time and space that the narrative revolves around charts the implications for the digital end of time for law. (shrink)

This dissertation works out a new approach to understanding what makes a representation pictorial and what makes a representation imagistic. Over the last thirty years, the most common approach to these problems has been to claim that what makes a representation pictorial is that normal perceivers can perceive it in certain ways. By contrast, my approach singles out structural features of representational systems as that which distinguishes pictures from other kinds of representations. Pictorial systems are those that (...) are transparent, relatively syntactically sensitive, relatively replete, and semantically rich. All pictures are images, but the converse relation does not hold because images need not be transparent, though they satisfy the weaker condition of being mimetic. This approach is similar to, but enjoys advantages over, Nelson Goodman's work on the topic. ;The account of what makes a representation pictorial or imagistic is then brought to bear on the imagery debate, which concerns whether the brain implements imagistic systems of representation, specifically in the early stages of perception. A review of what we know about the workings of the visual and auditory systems reveals that no representations in the brain are pictorial, though some are imagistic in quite limited respects. Though they fail to be imagistic in many interesting respects, the early stages of the visual and auditory systems are highly isomorphic to what they represent. ;The role of isomorphism in perceptual states has been much discussed in both philosophy and cognitive neuroscience. The last two chapters of the dissertation argue that perceptual representations of traditionally secondary qualities like colors and sounds are isomorphic to those properties to a lesser degree than representations of traditionally primary qualities like shapes. This distinction in how such properties are represented can affect out intuitions concerning the nature of those properties and the nature of perceptual experience. Furthermore, it is argued that isomorphism is an important feature of perceptual representations because of the role it plays in making information cognitively available. This role for isomorphism is maintained even if one is an information theorist, and therefore thinks that lawful causal generalizations fix the content of representations. (shrink)

The proposed volumes are aimed at a multidisciplinary audience and seek to fill the gap between law, semiotics and visuality providing a comprehensive theoretical and analytical overview of legal visual semiotics. They seek to promote an interdisciplinary debate from law, semiotics and visuality bringing together the cumulative research traditions of these related areas as a prelude to identifying fertile avenues for research going forward. Advance Praise for Law, Culture and Visual Studies This diverse and exhilarating collection of essays (...) explores the many facets both historical and contemporary of visual culture in the law. It opens a window onto the substantive, jurisdictional, disciplinary and methodological diversity of current research. It is a cornucopia of materials that will enliven legal studies for those new to the field as well as for established scholars. It is a 'must read' that will leave you wondering about the validity of the long held obsession that reduces the law and legal studies to little more than a preoccupation with the word. Leslie J Moran Professor of Law, Birkbeck College, University of London Law, Culture and Visual Studies is a treasure trove of insights on the entwined roles of legality and visuality. From multiple interdisciplinary perspectives by scholars from around the world, these pieces reflect the fullness and complexities of our visual encounters with law and culture. From pictures to places to postage stamps, from forensics to film to folklore, this anthology is an exciting journey through the fertile field of law and visual culture as well as a testament that the field has come of age. Naomi Mezey, Professor of Law, Georgetown University Law Center, Washington, D.C., USA This highly interdisciplinary reference work brings together diverse fields including cultural studies, communication theory, rhetoric, law and film studies, legal and social history, visual and legal theory, in order to document the various historical, cultural, representational and theoretical links that bind together law and the visual. This book offers a breath-taking range of resources from both well-established and newer scholars who together cover the field of law's representation in, interrogation of, and dialogue with forms of visual rhetoric, practice, and discourse. Taken together this scholarship presents state of the art research into an important and developing dimension of contemporary legal and cultural inquiry. Above all, Law Culture and Visual Studies lays the groundwork for rethinking the nature of law in our densely visual culture: How are legal meanings produced, encoded, distributed, and decoded? What critical and hermeneutic skills, new or old, familiar or unfamiliar, will be needed? Topical, diverse, and enlivening, Law Culture and Visual Studies is a vital research tool and an urgent invitation to further critical thinking in the areas so well laid out in this collection. Desmond Manderson, Future Fellow, ANU College of Law / Research School of Humanities and the Arts, Australian National University, Australia. (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)

This paper revisits some early applications of audio-visual imaging technologies used in physiology in a dialogue with reflections on Henri Bergson’s philosophy. It focuses on the aspects of time and memory in relation to spatial representations of movement measurements and critically discusses them from the perspective of the observing participant and the public exhibitions of scientific films. Departing from an audio-visual example, this paper is informed by a thick description of the philosophical implications and contemporary discourses surrounding (...) the scientific inventions, technologies and theories of moving image technologies, representations of time, and the measurement of bodies in motion such as those by the French physiologist Étienne-Jules Marey. The application of Bergson’s thinking will show how the scientific graphing and representations of the body through technologies inevitably stand in tension with the limits and potentials of the ‘human apparatus’ and its abilities, filters and internalised processes of perception, memory and consciousness. It proposes an ontological approach to scientific imaging technologies and a critical engagement with the ‘realism’ debate in the discourse of audio-visual media. (shrink)

Digital images of cultural heritage (CH) contain rich semantic information. However, today’s semantic representations of CH images fail to fully reveal the content entities and context within these vital surrogates. This paper draws on the fields of image research and digital humanities to propose a systematic methodology and a technical route for semantic enrichment of CH digital images. This new methodology systematically applies a series of procedures including: semantic annotation, entity-based enrichment, establishing internal relations, event-centric enrichment, (...) defining hierarchy relations between properties text annotation, and finally, named entity recognition in order to ultimately provide fine-grained contextual semantic content disclosure. The feasibility and advantages of the proposed semantic enrichment methods for semantic representation are demonstrated via a visual display platform for digital images of CH built to represent the Wutai Mountain Map, a typical Dunhuang mural. This study proves that semantic enrichment offers a promising new model for exposing content at a fine-grained level, and establishing a rich semantic network centered on the content of digital images of CH. (shrink)

Philosophy of science has characterized scientific knowledge as fundamentally propositional . This account leads to an inability to recognize and articulate the significant role of non-propositional, visual representation in the practice of science. Toward the development of a more productive framework for understanding visual representation in science, the present study critiques the standard philosophical view, reviews the literature on visual representation in science, and examines the scientific case of neuroscience. Specifically, the study looks (...) at current research known as "functional mapping of the human brain" which uses neuroimaging technologies such as positron emission tomography in the localization of particular functions in the human brain. This case study suggests that, contrary to previous accounts in philosophy of science, visual representation and propositional representation work together as parallel, interacting, interwoven practices in the discovery/construction of scientific knowledge. Visual representations are not reduced to--translated into--linguistic and mathematical propositions, but instead are used in their multidimensional forms. The present study focuses on the external, materialized visual representations used in the practice of science, as opposed to internal, mental images that might be studied by cognitive psychology. Several hypotheses are proposed which describe aspects of the role of these visual representations in the practice of science. These include the following: a primary function of visual representation is the representation of structure which is made possible by the use of actual space in the process of visual representation; visual comparisons among visual representations of real objects and processes, visual representations of theoretical models, and visual representations of integrations of the two are used to assess the fit of the theoretical models to the real objects and processes; the construction of visual prototypes or prototypical visual representations of objects of scientific research are used to categorize and stabilize--hold stationary for the purposes of scientific examination--such objects; and the construction of material models make it possible for scientists to interact with and/or manipulate materialized structures as representations of real systems. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into (...) the aesthetic and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (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)

Digital games can be considered as composed of two main components: the props, i.e. visual, textual, and aural elements such as codes, 3D models and animations; and the form, specially the interaction between players and games, the act of playing itself. This dichotomy thus begs the question whether digital games are indeed games if nobody plays them, and ultimately: who is the owner of the gameplay and any by-product of the interaction between the game and the players? (...) This paper explores the copyright status of content created by users with digital games, such as gameplay videos and images, for example art based on digital game assets, namely virtual photography; as well as customized in-game objects. Many modern digital games offer considerable freedom to players, in terms of how the action on screen evolves and the visual outcomes that the game can produce. Scholars have asserted that digital games avatars, the characters created in games, should be considered a joint work between players and the game developers and some game companies allow the commercial use of videos created from their games. Conversely, other companies expressly prohibit such use, and issue DMCA takedown notices to infringers. Attention will be devoted to specific games as authorial tools, such as _SpaceEngine_ and _Townscaper_, where there are neither objectives nor challenges, but they are rather tools that enable players’ creativity. (shrink)

In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human (...) in the digital era.Hansen examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it.To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations from the works of these and many other new media artists. (shrink)

What might it be to write a post-colonial social science? And how might the intellectual legacy of Chinese classical philosophy—for instance Sun Tzu and Lao Tzu—contribute to such a project? Reversing the more usual social science practice in which EuroAmerican concepts are applied in other global locations, this paper instead considers how a “Chinese” term, _shi_ might be used to explore the UK’s 2001 foot-and-mouth epidemic. Drawing on anthropological insights into mis/translation between different worlds and their alternative ways of (...) knowing and being, the paper explores that epidemic in three differently inspired _shi_-inflected “empirical” accounts. The first uses Sun Tzu’s strategic understanding of _shi_ to tell a conventionally representational story. The second resists the causes and background factors implied in standard social science by offering a “light” and _shi_-inflected form of knowing. And the third combines the referentiality of social science with a Lao Tzu-informed commitment to the paradoxes of normative epigram. This third narrative thus illustrates the possible features of a situated and _shi_-inflected social science that recognizes that it participates in the contexted and immanent flows and counterflows of things in the world. The paper concludes by noting that such a _shi_-inflected social science is experimental, and suggests that it is important to explore a range of ways of reversing the flow of concepts between EuroAmerica and other global locations. (shrink)

On one view of ethical development, someone not yet virtuous can reliably progress by engaging in what meaningfully resembles virtuous conduct. However, if the well-intended conduct is psychologically demanding, one's character, precisely because one is not yet virtuous, may worsen rather than improve. This risk of degradation casts doubt on the developmental view. I counter the doubt through one interpretation and one application of the Mengzi. In passage 2A2, invoking the image of a farmer who “helped” the crop grow (...) by pulling the sprouts, MENG Ke cautions, “do not help it grow.” I defend a novel interpretation: do not advance with a naïve negligence about your psycho-physiological constitution. I also show how to advance with realistic care by pointing out an overlooked application of a much-discussed cultivation technique illustrated in Mengzi 1A7: ethical reflection can conciliate one with one’s ongoing or past advanced action, lowering the action’s risk of degradation. (shrink)

Conventional wisdom holds that Judaism is indifferent or even suspiciously hostile to the visual arts due to the Second Commandment's prohibition on creating "graven images," the dictates of monotheism, and historical happenstance. This intellectual history of medieval and modern Jewish attitudes toward art and representation overturns the modern assumption of Jewish iconophobia that denies to Jewish culture a visual dimension. Kalman Bland synthesizes evidence from medieval Jewish philosophy, mysticism, poetry, biblical commentaries, travelogues, and law, concluding that (...) premodern Jewish intellectuals held a positive, liberal understanding of the Second Commandment and did, in fact, articulate a certain Jewish aesthetic. He draws on this insight to consider modern ideas of Jewish art, revealing how they are inextricably linked to diverse notions about modern Jewish identity that are themselves entwined with arguments over Zionism, integration, and anti-Semitism. Through its use of the past to illuminate the present and its analysis of how the present informs our readings of the past, this book establishes a new assessment of Jewish aesthetic theory rooted in historical analysis. Authoritative and original in its identification of authentic Jewish traditions of painting, sculpture, and architecture, this volume will ripple the waters of several disciplines, including Jewish studies, art history, medieval and modern history, and philosophy. (shrink)

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

The paper deals with the problem of representation on the background of J. Rancière’s political philosophy, in which he rejects the concept of the unrepresentable. The resolution of the problem follows from the confronting of two conceptions of the unrepresentable: that of the esthetics of the sublime in Kant and Lyotard and of the politics of prohibition in Foucault on one hand and Rancière’s understanding of sharing the perceptible on the other hand. This discussion leads the author to (...) the problem of visuality conceived as a set of visual representations, which in a historically given period are legitimately visible. This definition of visuality returns the representation and the unrepresentable back into the political conception of image. (shrink)

There is currently a gap in our understanding of how figures produced by mechanical imaging techniques play evidential roles: several studies based on close examination of scientific practice show that imaging techniques do not yield data whose significance can simply be read off the image. If image-making technology is not a simple matter of nature re-presenting itself to us in a legible way, just how do the images produced provide support for scientific claims? In this article I will (...) first show that there is a distinct question about the semiotics of mechanically produced images that has not yet been answered. I show that my account of visual representations can do so, and I argue that the role of convention involved in my account is compatible with the view that visual representations produced through mechanized imaging techniques can play genuine evidential roles in scientific reasoning. (shrink)

In _Reading the Figural, or, Philosophy after the New Media_ D. N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. (...) Rodowick—one of the foremost film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated. To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control. Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book. _ _. (shrink)

The paper raises the question of the function of visual representations in medieval cosmographical texts. It proposes to view diverse functions of figures in relation to changing discursive environments, including differing philosophical positions and changing social and intellectual contexts. It further suggests a distinction between figures that were elaborated within the highly specialized disciplines of mathematics and philosophy of nature in Greek Antiquity and figures that were instrumental in transmitting accepted world models, thus avoiding the opposition between scientific (...) and unscientific types of verbal and pictorial documents. Simplifying changes, when figures are abstracted form their geometrical context and accompany doxographical, descriptive accounts, are characterized in terms of schematization. Concomitantly, mathematical and philosophical demonstrations tend to give way to proofs of a predominantly rhetorical nature: images are verbally construed and, in order to enhance these, actual visual figures— mostly linear, diagrammatic constructs—are added. With regard to the Middle Ages, the paper distinguishes two principal periods: the period from the seventh to the eleventh century and the period of the so-called twelfth-century Renaissance. First, the verbal and pictorial cosmological corpus of Roman origin gave rise to explanations and variations but not to consequential theoretical developments and cosmological diagrams tended to fuse with summarizing tables at this time. Then, during the twelfth century, mathematical and philosophical documents of a specialized kind that were translated from the Arabic and also from the Greek became available in the Latin West. In mathematics, specialized types of study remained, however, sparse. Continuous elaborations of the assimilated material set in later only, within the thirteenth-century university context. Nevertheless, twelfth-century authors of cosmographical accounts became increasingly aware that their expositions and visual figures were ultimately derived from geometrical models of the universe. More diversified types of demonstration and corresponding visual figures were being used, as exemplified by William of Conches’ Dragmaticon philosophiae. (shrink)

Ana-materialism & the Pineal Eye provides a landmark interpretation of materialism, representation and the image using the Cartesian conceit of a pineal gland and its voracious sexually embedded appetites. Developing the argument via Bataille’s re-invention of the pineal gland as an all-seeing, all- devouring, (pineal) eye, Golding borrows this move to envision a different analytic approach to digital forms of ‘matter’ and artificial forms of ‘life’. From her critical engagement with Bataille, Deleuze and Butler, Golding shows why (...) the tools provided by these modern, contemporary and postmodern approaches to philosophy, image, the body, indeed representation cannot fully explore, let alone develop these new forms of reality/ies except by retreating into traditional binary divides between male and female, good and evil, mother/child and so forth. Ana-materialism and the Pineal Eye introduces a much needed understanding to oddly cathected sensualities, multiversal realities, digital imaginaries with no weight, no volume, no spatiality, but ‘somehow’ making sense, and with it, creating matter, ethics, art. (shrink)

This special issue examines how the comic and the icon prefigure forms of legality that are different to modern law. There is a primal seeing of law unmediated by reading, writing or possibly thinking. This introduction identifies the primacy of the eye, the emergence of visual jurisprudence and the transformations of law as a paper-based material practice to a digitally enabled activity.

Visual thinking -- visual imagination or perception of diagrams and symbol arrays, and mental operations on them -- is omnipresent in mathematics. Is this visual thinking merely a psychological aid, facilitating grasp of what is gathered by other means? Or does it also have epistemological functions, as a means of discovery, understanding, and even proof? By examining the many kinds of visual representation in mathematics and the diverse ways in which they are used, Marcus Giaquinto (...) argues that visual thinking in mathematics is rarely just a superfluous aid; it usually has epistemological value, often as a means of discovery. Drawing from philosophical work on the nature of concepts and from empirical studies of visual perception, mental imagery, and numerical cognition, Giaquinto explores a major source of our grasp of mathematics, using examples from basic geometry, arithmetic, algebra, and real analysis. He shows how we can discern abstract general truths by means of specific images, how synthetic a priori knowledge is possible, and how visual means can help us grasp abstract structures. Visual Thinking in Mathematics reopens the investigation of earlier thinkers from Plato to Kant into the nature and epistemology of an individual's basic mathematical beliefs and abilities, in the new light shed by the maturing cognitive sciences. Clear and concise throughout, it will appeal to scholars and students of philosophy, mathematics, and psychology, as well as anyone with an interest in mathematical thinking. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

Botanical illustration combines scientific knowledge and artistic technique. However, whereas illustrated botanical images record static visual qualities, such as form and color, written botanical narratives supply crucial sensory, ecological, historical, and cultural contexts that complement visual representation. Understanding the text-image interface—where images and words intersect—contributes to humanities-based analyses of botanical illustration and illustrators. More specifically, a process philosophy perspective reveals the extent to which botanical representations engage the temporality, cyclicality, and contextuality of the living plants (...) being illustrated. This article takes up these themes through a comparative theoretical study of three female Western Australian botanical illustrators, Georgiana Leake, Emily Pelloe, and Philippa Nikulinsky, whose lives together span the 183 year history of the Swan River Colony and the state of Western Australia. I apply a processist framework to examine the text-image interface of their works. All three illustrators use some form of textuality: marginalia, annotations, written accompaniments, introductory statements, and other narrative materials. In examining their written commentaries and traces, I identify the emergence of a process mode of botanical illustration that represents plants as ecological, historical, cultural, and temporal organisms. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

For the better part of the past decade, global social movements have drawn popular attention to the power of image production and acts of representation, particularly the ways ubiquitous cameras challenge the exercise of power This essay lays out a theoretical schema for interrogating a broader “politics of visibility” at work in the early twenty-first century, most readily apparent through the activities of smartphone-enabled and visually-savvy activists. As new media technologies have opened up new strategies of representation, (...) these modes of representation have been incorporated into existing media practices that delimit the ways in which the consequentiality of various movements and political projects can be understood. Theoretically revisiting the concept of visibility, this essay critiques the relationship between technology and the production of knowledge in media studies before arguing that the visibility of an event presages a consequentiality partially determined by the ways in which it is rendered perceptible and thus, intelligible. (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)

The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied as (...) single entities in relationship with both a referent and the perceptual or interpretive abilities of an observer. On the other hand, thanks in particular to the iconographic tradition inaugurated by Aby Warburg, images have been analyzed in their multiplicity, in their mutual relationship, both synchronically and diachronically. (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)

In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism withour reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which relations (...) between the formation of the individual and the theory of justice are connected. At the heart of this reconnection lies a reflection on the significance of the Holocaust and Judaism. Mourning Becomes the Law reinvents the classical analogy of the soul, the city and the sacred. It returns philosophy, Nietzsche's 'bestowing virtue', to the pulse of our intellectual and political culture. (shrink)

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be (...) interpreted. And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

The paper explores the semiotic and legal semiotic perspectives related to posthumous digital face. In doing so, the contribution also seeks to explore the complex relationship between AI-generated faces, including deep fakes, mourning, and posthumous rights. The article has five parts. In the introduction, we discuss the challenges of _posthumous existence_ and the issues related to respecting the deceased. We also examine some examples of ‘digital personhood’. In part two, we present three case studies and use semiotics to (...) help us distinguish between _posthumous existence_ and _digital resurrection_. In part three, we provide a semiotic classification of representation in the context of digital faces and our case studies. We suggest that there is a difference between the _phenomenological presence_ of a hologram and the _cognitive value_ of recreating someone’s identity, including their biography, face, and voice. In part four, we explore the topic of digital spectra and mourning, including the concept of _imputability_. In part five, we analyse how the law offers new insights into the ontology of the face of the deceased and posthumous existence in hologram form. In the conclusion, we summarise the article’s key findings and highlight open issues and potential future developments. (shrink)

This article deals with the nature of the visual representation of knowledge with historical and contemporary examples of the analysis of its defining characteristics as epistemic, heuristic and communicative representation. With this aim along the text we explain the visual material features and their relationship with the elaboration of scientific knowledge. And, finally, we must take into account the status of scientific representation in the complex of contemporary visual culture claiming the urgent need to (...) address this type of particular representation of visuals with greater intensity from its epistemic, heuristic and communicative nature. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made (...) variable and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

Advancements in digital technology have made it easy to alter faces using editing software, posing challenges for industries in verifying photograph authenticity. Digital image forensics, a scientific method, is employed to gather data and determine the veracity of faces. This study assesses the effectiveness of digital image forensics in detecting fake digital faces using tools such as Foto Forensics, Forensically Beta, and Opanda IExif. Foto Forensics analyzes JPEG picture compression levels to detect image (...) edits, revealing metadata differences compared to the original photo. Forensically Beta examines digital characteristics like color and noise levels to identify alterations. Opanda IExif scrutinizes image metadata, disclosing information about the camera used and subsequent changes. All three forensic methods effectively identify fake digital faces. Analyzing metadata differences and contrast variations between the original and altered faces proves to be an effective method for spotting alterations. Digital image forensics enhances legal and investigative processes, serving as a valuable tool for identifying digital face manipulation. Stronger digital security measures, including improved encryption, authentication, and legal regulations, are needed to protect against facial photograph manipulation. Updating legal and regulatory frameworks for digital security is vital to address increasingly sophisticated techniques used in facial photograph editing. As digital technology advances, continuous development and improvement of forensic techniques are crucial to detect digital face fabrication. Given the growing complexity of digital editing tools and the ease with which facial images can be altered, reliable methods are essential. Digital image forensics provides a systematic approach to gather data and verify the authenticity of digital photographs. (shrink)

Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of the (...) career of an individual artist, among artists who share in a common artistic style, and across different schools of art. The results of these studies provide clues to the image features that enable viewers to categorize works as belonging to different artistic styles. -/- We have developed a system that can act as an open access laboratory for visual stylometry. This approach is powerful enough to support advanced academic research in computer science, cognitive science, art history, and the philosophy of art while at the same time providing a user friendly interface accessible to students and researchers with little or no computer science background. Our framework is designed around the idea of scientific workflows. Scientific workflows allow users to build executable analyses in the same way they would draw a flowchart, by dragging objects representing data sets and image analysis procedures onto the work-space and drawing links between them. These workflows and data sets can be exported using open standards as web objects that can then be shared or modified by other users. -/- Our platform, Workflows for the Analysis of Images in Visual Stylometry (WAIVS), has the potential to promote computational literacy and data analytic skills among humanities students, to introduce science students to research in art and the humanities, to explore the nature of artistic style and its role in our understanding of artwork, and to help researchers in cognitive science understand how viewers perceptually categorize, recognize, and otherwise engage with artworks. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far (...) too influential on the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the (...) material world, actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the (...) material world, actually dazzles and distorts the perception of reality. In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Marks individually or in combination constitute images that represent objects. How do those images represent those objects? Marks vary in style, both between and within images. Images also vary in style. How do those styles relate to each other and to the objects that those images represent? Referencing a diverse range of images, we answer the first question with a response-dependence theory of image representation derived from Mark Johnston, differentiating Lockean primary qualities of marks from secondary qualities of (...) images. We answer the second question with a perceptual theory of style derived from Paul Grice, differentiating physical style from image style, and representing conventionally from representing conversationally. (shrink)

What is a “historical” video game, let alone a successful one? It is difficult to answer this question because all our definitions of history have been constructed in a linear-narrative cultural context that is currently being challenged and in large part displaced by digital media, especially video games. I therefore consider this question from the point of view of historical semantics and in relation to the impact of digital technology on all aspects of the historiographical operation, from the (...) establishment of digital archives, to the production of e-texts, to the digital remediation of visual modes of historical representation. Seen from this dual perspective, video games appear to participate in a process of spatialization and virtualization of historical semantics. In the first place, video games have begun to detach the notion of history from its double reference to the past and to the real—“what essentially happened”—that it had acquired at the end of the eighteenth century. Second, they also challenge the semiotic production of “historic events” that has characterized the construction of modern historical consciousness. Historical video games, in other words, replace representation with simulation and presence with virtuality, thereby marginalizing the oscillation of the modern historical imagination between historical facts and historic events, transcendence and immanence, representation and presence. Although digital reworkings of historical semantics have not produced any grammatical transformation of the signifier, history—nor does this essay propose one—I do argue that the impact of video games on our contemporary historic culture is of paradigmatic proportions similar to those described by Reinhart Koselleck for the dawn of the modern age. Focusing on one of the most successful contemporary video games, Sid Meier’s Civilization, I show how the remediation of cinematic genres by video games is pushing the processes of de-temporalization and de-referentialization of history toward the formation of a new notion of the historical that may be conceptualized as the inversion of the classic Aristotelian paradigm: history has replaced poetry and philosophy as the realm of the possible. (shrink)

The image is the raw material of the twenty-first century. Images infiltrate all social and cultural spaces. Its digital-mediated realities drive communication, industry and knowledge. Images saturate life and adolescent learners are familiar with the participatory nature of image production and its social, educational and personal communicative realities. Vision and visibility, seeing and being now dominate how we inter-subjectively recognise ourselves and perform our world. We also find our aesthetic and embodied self increasingly constituted within imaging acts (...) that are relational. Visual culture may have colonised the self and learning, but imagination is without borders. The current pictorial turn opens possibilities to explore truth in flux through visual artistic acts. This article embeds Deleuzian method, which is one of intuitions, going beyond the actual, or our limited forms of representing life, to recognising that life has future imaginative potential forms and is always becoming. The article discusses an arts-based inquiry project for gifted artist visualiser/learners at an Australian regional university who are given broad topics on science phenomena and asked to give them expression. It suggests that pedagogies of the visual with their performative acts can prise open curriculum where an art-science interchange between two disciplines is made difficult by the current siloed nature of curriculum knowledge. Drawing on an analysis of Anika’s and Joel’s artworks and visual diaries it aims to reveal how their learning events dwell and are performed in aesthetic borderlands and how visual pedagogies forge new fluid visual borderlands and new learning. (shrink)

Parce qu'il se développe à partir de la réalité factuelle, le droit, comme toutes les disciplines humaines, est confronté au réel et à sa représentation. Il ne peut appréhender le monde sans déjà le rendre présent. Il l'organise et le juge. Il en est une image. Or, cette image, l'apparence, désigne tout à la fois ce qui est visible, donc directement accessible aux sens, mais également ce qui est trompeur. Quelle attitude le droit doit-il alors adopter lorsque apparence (...) et réalité sont dissociées? Peut-il aller au-delà des apparences pour reconstituer une réalité plus complète ou même contraire? Or, le droit, comme l'art mais aussi comme les sciences dures, transforme la réalité car il est affaire de fabrication. Sa normativité lui permet de distribuer la pertinence des faits, en leur attachant mi effet juridique. La théorie de l'apparence constitue alors l'une des principales illustrations du rapport particulier que le droit entretient avec le réel : le droit parvient à ne plus opposer apparence et réalité pour les rendre complémentaires. La situation ostensible étant généralement l'image de la réalité, chacun lui accorde sa confiance. Cette confiance, qui conditionne l'action, ne subsiste que parce qu'il importe peu qu'apparence et réalité soient exceptionnellement dissociées. Foi est due à l'apparence n'est plus un simple dysfonctionnement marginal du rapport qui doit s'établir entre le fait et le droit, mais un principe général, indispensable au bon fonctionnement du système juridique. Le jeu normal de la règle est paralysé ; le fait apparent triomphe de la stricte logique juridique. La confiance s'affirme, aux dépens de la norme mais le droit, conformément à sa fonction première, s'oppose ainsi à la violence et à la suspicion. Il se soucie davantage de ses effets que de ses sources et se révèle alors de plus en plus pragmatique. La norme, définie paradoxalement comme le fait de confiance, n'est plus qu'un médiateur. (shrink)

The visual images, textual expressions, and rhetorical figures related to the image of the wounded, mutilated, and maimed country have become the cultural legacy of the Treaty of Trianon in Hungary, shaping collective identity. These representations have been influential in cultural memory throughout the 20th century until today in preventing Hungarian society from processing the collective trauma of Trianon. This process is linked to the present through many threads, among them the “Day of National Unity”, commemorating the signing (...) of the Treaty of Trianon, introduced by the Hungarian government in 2010. As the well-known images of wounds and violent rhetoric have become available in the new media, commemoration practices applied in schools may transmit the unresolved historical trauma yet again to younger generations. (shrink)

The “active image” refers to the operative nature of images, thus capturing the vast array of “actions” that images perform. This volume features essays that present a new approach to image theory. It explores the many ways images become active in architecture and engineering design processes and how, in the age of computer-based modeling, images play an indispensable role. The contributors examine different types of images, be they pictures, sketches, renderings, maps, plans, and photographs; be they analog or (...) digital, planar or three-dimensional, ephemeral, realistic or imaginary. Their essays investigate how images serve as means of representing, as tools for thinking and reasoning, as ways of imagining the inexistent, as means of communicating and conveying information and how images may also perform functions and have an agency in their own. The essays discuss the role of images from the perspective of philosophy, theory and history of architecture, history of science, media theory, cognitive sciences, design studies, and visual studies, offering a multidisciplinary approach to imagery and showing the various methodologies and interpretations in current research. In addition, they offer valuable insight to better understand how images operate and function in the arts and sciences in general. (shrink)

Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world.