Search results for 'Zachary Elkins' (try it on Scholar)

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  1.  3
    Thomas E. Elkins (1994). Dissent By Thomas E. Elkins, M.D. Thoughts on Cloning. Kennedy Institute of Ethics Journal 4 (3):281-282.
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  2. James Elkins (2007). James Elkins. In Diarmuid Costello & Jonathan Vickery (eds.), Art: Key Contemporary Thinkers. Berg 63.
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  3. Ken Elkins & Rick Bragg (2005). Picture Taker: Photographs by Ken Elkins. University Alabama Press.
     
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  4.  1
    James Elkins (1988). Art History Without Theory. Critical Inquiry 14 (2):354-378.
    The theories I have outlined suggest that by displacing but not excluding theory, art historical practice at once grounds itself in empiricism and implies an acceptance of theory’s claim that it cannot be so grounded. But beyond descriptions like this, the theories are not a helpful way to understand practice because they cannot account for its persistence except by pointing to its transgressions and entanglements in self-contradiction. Nor does it help to say, pace Steven Knapp, Walter Benn Michaels, and Stanley (...)
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  5. James Elkins (1997). Our Beautiful, Dry, and Distant Texts: Art History as Writing. Penn State University Press.
    How do psychoanalytic, semiotic, deconstructive, and other interpretations represent works of art? What can they see, and what must they miss? In _Our Beautiful, Dry, and Distant Texts_, Elkins suggests that the philosophic problems posed by these questions are essentially insuperable because philosophy makes demands of visual artifacts that they can answer only by becoming mirror images of philosophic discourse. Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the (...)
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  6.  70
    James Elkins (2008). Six Stories From the End of Representation: Images in Painting, Photography, Astronomy, Microscopy, Particle Physics, and Quantum Mechanics, 1980-2000. Stanford University Press.
    James Elkins has shaped the discussion about how we—as artists, as art historians, or as outsiders—view art. He has not only revolutionized our thinking about the purpose of teaching art, but has also blazed trails in creating a means of communication between scientists, artists, and humanities scholars. In Six Stories from the End of Representation , Elkins weaves stories about recent images from painting, photography, physics, astrophysics, and microscopy. These images, regardless of origin, all fail as representations: they (...)
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  7. James Elkins (2003). What Does Peirce's Sign System Have to Say to Art History? Culture, Theory, and Critique 44 (1):5-22.
    Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.
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  8. James Elkins (2012). Whitney Davis's General Theory of Visual Culture. [REVIEW] College Art Association Books Reviews.
    This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).
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  9.  1
    Ralph L. Elkins & William Harrison (1983). Rotation-Induced Taste Aversions in Strains of Rats Selectively Bred for Strong or Weak Acquisition of Drug-Induced Taste Aversions. Bulletin of the Psychonomic Society 21 (1):57-60.
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  10. Stephen H. Hobbs & Ralph L. Elkins (1983). Operant Performance of Rats Selectively Bred for Strong or Weak Acquisition of Conditioned Taste Aversions. Bulletin of the Psychonomic Society 21 (4):303-306.
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  11.  4
    Ralph L. Elkins & Stephen H. Hobbs (1982). Taste Aversion Proneness: A Modulator of Conditioned Consummatory Aversions in Rats. Bulletin of the Psychonomic Society 20 (5):257-260.
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  12.  59
    A. Zachary (2001). Informed Consent: Response. Journal of Medical Ethics 27 (1):65-a-66.
    SIRI would like to acknowledge with regret that my sentence, of which Ms Stevens quotes half, is convoluted. A book review1 is necessarily condensed and perhaps if it creates a problem it is best to read the book. But, in the complex legal, moral and ethical dilemmas arising in subjects such as confidentiality, it is highly dangerous to take half a sentence out of context and use it to discuss a separate agenda, ie secrecy within the National Health Service .I (...)
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  13.  15
    James Elkins (1995). Marks, Traces, "Traits," Contours, "Orli," and "Splendores": Nonsemiotic Elements in Pictures. Critical Inquiry 21 (4):822-860.
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  14.  18
    Jeremy Elkins (2007). Reply. Theory and Event 9 (4).
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  15.  6
    James Elkins (1992). The Snap of Rhetoric: A Catechism for Art History. Substance 21 (2):3.
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  16.  45
    James Elkins (1993). From Original to Copy and Back Again. British Journal of Aesthetics 33 (2):113-120.
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  17.  10
    Jeremy Elkins (2006). Reply. Theory and Event 9 (4).
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  18.  20
    Jeremy Elkins (2006). Revolutionary Politics. Theory and Event 9 (4).
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  19.  7
    James Elkins (1999). On Pictures and the Words That Fail Them. Journal of Aesthetics and Art Criticism 57 (4):471-473.
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  20. James Elkins (1999). Pictures of the Body Pain and Metamorphosis. Monograph Collection (Matt - Pseudo).
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  21.  10
    James Elkins (1992). Art School Critiques as Seductions. Journal of Aesthetic Education 26 (1):105-107.
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  22. James Elkins (1994). The Poetics of Perspective. Monograph Collection (Matt - Pseudo).
     
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  23.  7
    Nathan T. Elkins (2014). Ancient Sculpture. Siapkas, Sjögrendisplaying the Ideals of Antiquity. The Petrified Gaze. Pp XII + 242, Ills.New York and London:Routledge,2014. Cased, £80, Us$125. Isbn:978-0-415-52916-7. [REVIEW] The Classical Review 64 (2):577-579.
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  24.  1
    Thomas E. Elkins, Carson Strong, Alan R. Wolfe & Douglas Brown (1986). An Ethics Committee in a Reproductive Health Clinic for Mentally Handicapped Persons. Hastings Center Report 16 (3):20-22.
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  25.  14
    James Elkins (2003). Four Ways of Measuring the Distance Between Alchemy and Contemporary Art. Hyle 9 (1):105 - 118.
    Alchemy has always had its ferocious defenders, and a small minority of artists remain interested in alchemical meanings and substances. In this essay I will suggest two reasons why alchemy is marginal to current visual art, and two more reasons why alchemical thinking remains absolutely central. Briefly: alchemy is irrelevant because (1) it is has been a minority interest from early modernism to the present, and therefore (2) it is outside the principal conversations about modernism and postmodernism; but alchemy is (...)
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  26.  32
    James Elkins (1995). Book Review: The Poetics of Perspective. [REVIEW] Philosophy and Literature 19 (2).
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  27. Jeremy Elkins (1999). Frederick Schauer on the Force of Rules. In Frederick F. Schauer & Linda Meyer (eds.), Rules and Reasoning: Essays in Honour of Fred Schauer. Hart Pub. 79--108.
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  28.  7
    Stephen H. Hobbs, Paul A. Walters, Elizabeth F. Shealy & Ralph L. Elkins (1993). Radial-Maze Learning by Lines of Taste-Aversion-Prone and Taste-Aversion-Resistant Rats. Bulletin of the Psychonomic Society 31 (3):171-174.
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  29.  7
    Stephen H. Hobbs, Paul A. Walters Iii, Elizabeth F. Shealy & Ralph L. Elkins (1993). Radial-Maze Learning by Lines of Taste-Aversion-Prone and Taste-Aversion-Resistant Rats. Bulletin of the Psychonomic Society 31 (3):171-174.
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  30.  11
    Tepper L. Gill, W. W. Zachary & J. Lindesay (2001). The Classical Electron Problem. Foundations of Physics 31 (9):1299-1355.
    In this paper, we construct a parallel image of the conventional Maxwell theory by replacing the observer-time by the proper-time of the source. This formulation is mathematically, but not physically, equivalent to the conventional form. The change induces a new symmetry group which is distinct from, but closely related to the Lorentz group, and fixes the clock of the source for all observers. The new wave equation contains an additional term (dissipative), which arises instantaneously with acceleration. This shows that the (...)
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  31.  8
    James Elkins (forthcoming). A Thought Experiment, for a Book to Be Called" Failure in Twentieth-Century Art". Journal of Aesthetic Education.
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  32.  4
    S. Elkins (1989). The Politics of Mystical Ecology. Télos 1989 (82):52-70.
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  33.  9
    Tepper L. Gill & Woodford W. Zachary (2011). Two Mathematically Equivalent Versions of Maxwell's Equations. Foundations of Physics 41 (1):99-128.
    This paper is a review of the canonical proper-time approach to relativistic mechanics and classical electrodynamics. The purpose is to provide a physically complete classical background for a new approach to relativistic quantum theory. Here, we first show that there are two versions of Maxwell’s equations. The new version fixes the clock of the field source for all inertial observers. However now, the (natural definition of the effective) speed of light is no longer an invariant for all observers, but depends (...)
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  34.  11
    Gary Stephen Elkins (2008). Rethinking Religious Epistemology. Proceedings of the Xxii World Congress of Philosophy 45:101-108.
    Philosophers of religion propose an assortment of epistemic preferences with reference to the extent and limits of knowledge of God, ranging from moderate fideism to robust rationalism. In the past two decades, a seismic shift has occurred away from more classical strategies to movements that reflect the current Zeitgeist (e.g. postmodernism and pseudo-modernism). In my paper, I will argue for rational confidence and epistemic modesty in an attempt to find some balance between faith and reason.
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  35.  21
    James Elkins (1999). Logic and Images in Art History. Perspectives on Science 7 (2):151-180.
    : This essay is an attempt to see how some of Galison's ideas and analyses look from the vantage of art history. If there's to be dialogue between the history of science and the history of art, it will be necessary to find historically recognizable senses for words like "logic" and "homologous." I also propose how Galison's kinds of images might fit into larger classifications of images known to the history of art.
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  36.  19
    James Elkins (1988). Did Leonardo Develop a Theory of Curvilinear Perspective?: Together with Some Remarks on the 'Angle' and 'Distance' Axioms. Journal of the Warburg and Courtauld Institutes 51:190-196.
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  37.  15
    James Elkins (2004). Theoretical Remarks on Combined Creative and Scholarly Phd Degrees in the Visual Arts. Journal of Aesthetic Education 38 (4):22-31.
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  38.  5
    James Elkins (1996). What Do We Want Pictures to Be? Reply to Mieke Bal. Critical Inquiry 22 (3):590-602.
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  39.  5
    James Elkins (1993). On Monstrously Ambiguous Paintings. History and Theory 32 (3):227-247.
    Certain artworks appear to have multiple meanings that are also contradictory. In some instances they have attracted so much attention that they are effectively out of the reach of individual monographs. These artworks are monstrous.One reason paintings may become monstrous is that they make unexpected use of ambiguation. Modern and postmodern works of all sorts are understood to be potentially ambiguous ab ovo, but earlier--Renaissance and Baroque--works were constrained to declare relatively stable primary meanings. An older work may have many (...)
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  40.  3
    James Elkins (2000). Picturing Science, Producing Art by Caroline A. Jones; Peter Galison. [REVIEW] Isis: A Journal of the History of Science 91:318-319.
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  41.  2
    James Elkins (1992). Renaissance Perspectives. Journal of the History of Ideas 53 (2):209-230.
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  42.  2
    William R. Harrison & Ralph L. Elkins (1987). A Multisubject Rotational Stimulator for Taste-Aversion Induction. Bulletin of the Psychonomic Society 25 (3):213-215.
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  43.  9
    Gerard Casey, Dermot Moran, Manuel de Pinedo, Gary Elkins & Rom Harr (1995). Books Briefly Noted. International Journal of Philosophical Studies 3 (1):217 – 224.
    Educating the Virtues David Carr Routledge, 1991. Pp. 304. ISBN 0?415?05746?9. £35. The Philosophical Theology of St Thomas Aquinas By Leo J. Elders E. J. Brill, 1990. Pp. 332. ISBN 0?04?09156?4. $74.36. The State and Justice: An Essay in Political Theory By Milton Fisk Cambridge University Press, 1990. Pp. x + 391. ISBN 0?521?38966?6. £10.95 pbk. Perspectives on Language and Thought: Interrelations in Development Edited by S. A. Gelman and J. P. Byrnes Cambridge University Press, 1992. Pp. xii + 524. (...)
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  44.  3
    James Elkins (2005). Critical Response: What Do We Want Photography to Be? A Response to Michael Fried. Critical Inquiry 31 (4):938-956.
  45.  6
    James Elkins (1992). The "Fundamental Concepts" of Pictures. Journal of Speculative Philosophy 6 (2):143 - 151.
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  46.  2
    J. R. Elkins (1985). The Examined Life: A Mind in Search of Heart. American Journal of Jurisprudence 30 (1):155-187.
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  47.  2
    James Elkins (2009). Ten Reasons Why E. H. Gombrich is Not Connected to Art History. Human Affairs 19 (3).
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  48. Sharon Elkins (2001). Berenice M. Kerr, Religious Life For Women, C. 1100–C. 1350: Fontevraud in England.(Oxford Historical Monographs.) Oxford: Clarendon Press; New York: Oxford University Press, 1999. Pp. Xix, 299; Black-and-White Figures, Maps, and Tables. $75. [REVIEW] Speculum 76 (3):754-755.
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  49.  4
    Gary Elkins (1992). The Non-Reality of Freewill. Philosophical Studies 33:347-348.
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  50.  2
    G. Pascal Zachary (1990). Beyond the Limits. Acm Sigcas Computers and Society 20 (1):34-39.
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