Lucas van Valckenborch’s Winter Landscape hangs in the Kinsthistorisches Museum in Vienna. It was painted four hundred years ago as one of a set of the four seasons. Measured by sales of reproductions, it is one of the most popular paintings in the museum, though it is by no means the most distinguished example of the genre to which it belongs. The picture is a snow scene. In the long series of represented planed that recede from foreground to horizon, fallen (...) snow covers fields and roves. Across the surface of the canvas and scarcely diminishing in scale from bottom to top, touches of white paint represent falling snow. It is not a small painting, and these are not mere feathery indications, but palpable dabs from a loaded brush. To a taste fed on Modernist painting—or, for the pedantic, to a prejudice fuelled by Modernist accounts of painting—it is by virtue of this surprising frankness that the painting achieves more than mere anecdotal charm. It is not the illusion of depth in the picture that holds our sophisticated attention, nor the atmospheric re-creation of a leaden sky, nor do we admit to being engaged by the over-rehearsed animation of the peasants. What gives us pleasurable pause is the strange and distinctive form of skepticism about appearances that is set in play when the allure of imaginative depth meets resistance from the vividness of decorated surface.5 5. Wollheim uses the term ‘twofoldness’ for ‘this strange duality—of seeing the marked surface, and of seeing something in the surface.’ In his account this experience leads to a thematizing of the image, which ‘ushers in representation.’ Translated into his terminology, my suggestion would be that the Winter Landscape can be seen as catering to a Modernistic taste for the thematizing of ‘twofoldness’ itself. Charles Harrison is staff tutor and reader in the history of art at the Open University. He is the author of English Art and Modernism 1900-1939 , and he is now completing a second volume, English Art and Modernism 1940-1985. He is co-author of A Provisional History of Art & Language , and his most recent book—Essays on Art and Language—is due out in 1989. He has been associated with the Art & Language group since 1971 and is editor of the journal Art-Language. (shrink)

What happens when we blur time and allow ourselves to haunt or to become haunted by ghosts of the past? Drawing on archaeological, historical, and ethnographic data, Blurring Timescapes, Subverting Erasure demonstrates the value of conceiving of ghosts not just as metaphors, but as mechanisms for making the past more concrete and allowing the negative specters of enduring historical legacies, such as colonialism and capitalism, to be exorcised.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.3 (2006) 523-545 [Access article in PDF] Enlightenment! Which Enlightenment? Jonathan Israel Institute for Advanced Study Encyclopedia of the Enlightenment, 4 vols., editor in chief Alan Charles Kors; eds. Roger L.Emerson, Lynn Hunt, Anthony J. La Vopa, Jacques Le Brun, Jeremy D. Popkin, C. Bradley Thomson, Ruth Whelan, and Gordon S. Wood (New York: Oxford University Press, 2003). On the surface it (...) might well seem that during the last fifteen or twenty years the Enlightenment understood as a new way of thinking about reality and society has receded more and more from its former privileged status as a pivotal turning-point in the making of the modern world, and especially as any kind of leap forward in the making of a freer, more rational, and better humanity. Under the combined assaults of Post-Structuralism, Postmodernism, Postcolonialism, the rise of the new social history (and not least Robert Darnton's critique of the old intellectual history), the Enlightenment conceived as a movement of ideas appears to be not just firmly in retreat and increasingly under siege but also fragmenting into disparate remnants with no coherent overall profile.Yet, paradoxically, there are grounds for conjecturing that the Enlightenment despite all this, has actually been becoming, under the surface, an even more crucial and robust force than it was before, much like a powerfully compressed spring being pushed back but ready to rebound with greater impetus than ever. One reason for thinking this is the extensive new material unearthed in the last few years, mostly by colleagues in continental Europe, about the origins of "radical," in the sense of egalitarian, secularist, Spinozist, and anti-colonial, thought. A second and possibly more important [End Page 523] reason is that the terrible events of the last several years have provided thoughtful readers with more than just a glimpse of the nightmare world apt to result from enshrining as a new set of privileged and prevailing values "difference," a thoroughgoing relativism, and the doctrine that all sets of values, even the most questionable kinds of theology, are ultimately equivalent.The inevitable recoil from Postmodernist "relativism" will presumably strengthen the appeal, at least in some quarters, of the Radical Enlightenment's claim that the improvement of human life inescapably involves emancipating men from the collective force of autocracy, intolerance, and prejudiced thinking, and establishing a predominantly secular morality, no less than it involves promoting the ideals of equality (sexual and racial), democracy, individual liberty, and a comprehensive toleration. Indeed, recent developments on all continents seem likely to lend new weight to the radical philosophes' argument that the moral basis of their theorized egalitarianism, democracy, toleration, and individual freedom, despite the arguments of the Postmodernists (which by no means lack weight in certain contexts), is after all concretely superior in terms of reason and moral equity not just to what one faith or traditional system or another contends, in opposition to its claims, but absolutely—that is in ethical and political as well as social terms. One may confidently predict that such a development will render the Enlightenment both more compelling and much harder to disparage than it has appeared to be in the wake of the Postmodernist upsurge in recent years.The prestige and status of the Enlightenment Western and Eastern, still conspicuously low for the present, may powerfully rebound, then, and in all parts of the world; and this for the simple reason that "Enlightenment thinking," as one scholar recently expressed it, "remains the best foundation for any genuinely progressive politics not simply in the West but in those states that suffered most at its [i.e. the West's] hands."1 To anyone authentically committed to democracy, toleration, and personal liberty this seems undeniable and, what is more, as we see in Bayle, Diderot, the Abbé Raynal, Lahontan, Van den Enden, and other radical writers of the Enlightenment, the roots of anti-colonialism itself, as well as the modern idea of racial, ethnic, and sexual equality, are undoubtedly to be found precisely in the "philosophical" thought-world of the Enlightenment—and especially the... (shrink)

Stones, like us, stand at the intersection of countless lines crossing one another and receding to infinity, at the center of a field of forces too unpredictable to be measured…On my desk, next to my laptop, a small piece of lapis lazuli. My eye is captured by the intense blue from its most important component, the mineral lazurite. The stone also contains white calcite specks and some metallic glistering from its pyrite elements. Looking at the play of colors, feeling (...) the weight and the surface of the rocky material, I am reminded of Marguerite Yourcenar's words at the end of her introduction to Caillois's The Writing of Stones when she invokes stones as force fields "at the intersection of countless lines... (shrink)

Mr. Powell's ingenious observations on The Simile of the Clepsydra in Empedocles raise afresh the problem of the precise form and construction of the instrument with whose aid Empedokles is said to have reached his memorable conclusion that air is a corporeal substance. That ‘klepsydra’ was the name of the instrument in question is shown by a comparison of Aristotle, Phys. 213a, 22 sqq. with Empedokles, fr. 100; but though so far the fragment is plain, in its detailed interpretation there (...) arises a difficulty which is the subject of the present note. Empedokles is explaining his theory of respiration, and the theory is illustrated by the action of this apparatus. To make clear the general drift of the passage, it may be well to quote again so much of it as is relevant. ‘Thus do all things draw breath in and breathe it out again. All have bloodless tubes of flesh extended over the surface of their bodies; and at the mouths of these the outermost surface of the skin is perforated all over with pores closely packed together, so as to keep in the blood while a free passage is cut for the air to pass through. Then, when the thin blood recedes from these, the bubbling air rushes in with an impetuous surge; and when the blood rushes back it’ ‘is breathed out again. (shrink)

On Surface and Place is a rich and poetic exploration of surfaces which foregrounds their significance in our understanding and experience of place. Adopting weaving as its overarching metaphor, it departs from Gottfried Semper's discussion of correspondences between architecture and textiles, and emerges from the reading of photographs, a swatch of Harris Tweed and curtain wall façade juxtaposed. In juxtaposing the fabric of the city with the weave of Harris Tweed the book charts an original course across a range (...) of connected ideas and questions, combining many different themes, writers and disciplines. It presents integrated and innovative rethinkings on a number of fundamental relationships, including correlations between body and building, word and image, and between the rural and the metropolitan, and the hand-crafted and the mass-reproduced. In doing so, it seeks to foreground the very interrelationship of surface and place, as it makes a claim for the relational nature of the world in which we live. (shrink)

ArgumentAnimals played an important role in the formation of psychoanalysis as a theoretical and therapeutic enterprise. They are at the core of texts such as Freud's famous case histories of Little Hans, the Rat Man, or the Wolf Man. The infantile anxiety triggered by animals provided the essential link between the psychology of individual neuroses and the ambivalent status of the “totem” animal in so-called primitive societies in Freud's attempt to construct an anthropological basis for the Oedipus complex in Totem (...) and Taboo. In the following, we attempt to track the status of animals as objects of indirect observation as they appear in Freud's classical texts, and in later revisionist accounts such as Otto Rank's Trauma of Birth and Imre Hermann's work on the clinging instinct. In the 1920s and 1930s, the Freudian conception of patients' animal phobias is substantially revised within Hermann's original psychoanalytic theory of instincts which draws heavily upon ethological observations of primates. Although such a reformulation remains grounded in the idea of “archaic” animal models for human development, it allows to a certain extent to empiricize the speculative elements of Freud's later instinct theory and to come to a more embodied account of psychoanalytic practice. (shrink)

Minor entities provide an interesting testbed for metaphysical theories, but also for investigating the structure of concepts, as their concepts appear to be tributary of different representational systems.

If aesthetics is both surface and depth, impassioned immediacy yet also critical distance of judgment, how can this doubleness be held together in one ...

Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.

Shows how analogy-making pervades human thought at all levels, influencing the choice of words and phrases in speech, providing guidance in unfamiliar situations, and giving rise to great acts of imagination.

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

The development of explicit theories of dynamic context change has led to a fundamentally new perspective on the interpretation of discourse. In this paper I show that this development also opens up the possibility of approaching subclausal composition along similar lines. More specifically, I argue that a dynamic theory where type-driven rules apply directly to overt surface structures and fill in missing information by building anaphoric bridges is more faithful to natural language semantics than the classical Montagovian approach.

Graham McFee; VI*—The Surface Grammar of Dreaming, Proceedings of the Aristotelian Society, Volume 94, Issue 1, 1 June 1994, Pages 95–116, https://doi.org/10.10.

In attending to surfaces, as they wrap, layer and grow within sentient bodies, material formations and cosmological sates, this volume presents a series of ten anthropological studies stretching across five continents and in observation of earthly practices of making, knowing, living and dying. Through theoretically reflecting on time spent with Aymara and Mapuche Andean cultures, the Malagasy people of Madagascar, craftspeople and designers across Europe and Oceania, amongst the architectures of Australia and South Korea, and within the folds of books, (...) screens, landscape and the sea, the anthropologists in this volume communicate diverse ways of considering, working with and knowing surfaces. Together, these writings advance a knowledge of the world which resists any definitive settlement of existential categories and rather seeks to know the world in its emergence and transformation, as entities grow, cohere, shift, dissolve, decay and rebirth through the contact and exchange of surfaces, persisting with varying time, power and effect. The book principally invites readers from anthropology, the creative arts and environmental studies, but also across the wider humanities and social sciences as well as those in neighbouring scientific fields of archeology, biology, geography, geoscience, material science, neurology and psychology interested in the intersections of mind, body, materials and world. (shrink)

In this Introduction to a special section on ‘Visualizing Surfaces, Surfacing Vision’, the authors argue that to conceive vision in the contemporary world it is necessary to examine its embedding within, expression via and organization on the surface. First, they review recent social and cultural theories to demonstrate how and why an attention to surfaces is salient today. Second, they consider how vision may be understood in terms of surfaces, discussing the emergence of the term ‘surface’, and its (...) transhistorical relationship with vision. Third, they introduce the contributions to the special section, which cover written articles and artworks. They make connections between them, including their exploration of reflexivity and recursion, observation, objectivity and agency, ontology and epistemology, relationality, process, and two- and three-dimensionality. Fourth, the authors consider some implications of an understanding of visualizing surfaces/surfacing vision. (shrink)

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how (...) they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture. (shrink)

This chapter contains sections titled: Analogy with Human Action The Dependency Theses Are Deep Interpretations Weakly Dependent on Surface Interpretations? Consequences for the Constitutive Dependency Thesis.

The term ‘cell’, in addition to designating fundamental units of life, has also been applied since the nineteenth century to technical apparatuses such as fuel and galvanic cells. This paper shows that such technologies, based on the electrical effects of chemical reactions taking place in containers, had a far-reaching impact on the concept of the biological cell. My argument revolves around the controversy over oxidative phosphorylation in bioenergetics between 1961 and 1977. In this scientific conflict, a two-level mingling of technological (...) culture, physical chemistry and biological research can be observed. First, Peter Mitchell explained the chemiosmotic hypothesis of energy generation by representing cellular membrane processes via an analogy to fuel cells. Second, in the associated experimental scrutiny of membranes, material cell models were devised that reassembled spatialized molecular processes in vitro. Cells were thus modelled both on paper and in the test tube not as morphological structures but as compartments able to perform physicochemical work. The story of cells and membranes in bioenergetics points out the role that theories and practices in physical chemistry had in the molecularization of life. These approaches model the cell as a ‘topology of molecular action’, as I will call it, and it involves concepts of spaces, surfaces and movements. They epitomize an engineer’s vision of the organism that has influenced diverse fields in today’s life sciences. (shrink)

This study aimed to explore the psychophysical bases of multisensory surface stickiness perception by investigating how sensitively humans perceive different levels of stickiness intensity conveyed by auditory, tactile, and visual cues. First, we sorted five different sticky stimuli by perceived intensity in ascending order for each modality separately and evaluated the discrimination sensitivities of each participant using a fitted psychometric curve. Results showed that perceptual intensity orders were not identical to physical intensity order and that the sequential order of (...) perceived intensities for different modalities was inconsistent. Moreover, estimated perceptual sensitivities to surface stickiness indicated that auditory cues result in better discrimination sensitivity than tactile and visual cues. Second, we calculated the relative perceptual distances of stickiness intensities using multidimensional scaling. A follow-up statistical test demonstrated that the perceptual mapping of vision and touch are similar but that auditory perception is different. These results suggest that the discriminability of stickiness intensity is best served by auditory cues and that texture information processing in the auditory domain is distinctive from that of other modalities. (shrink)

Surface has become an important consideration of sensory film theory, conceived of in various forms: the screen itself as less a barrier than a permeable skin, the site of a meaningful interaction between film and audience; the image as a surface to be experienced haptically, the eye functioning as a hand that brushes across and engages with the field of vision; surfaces within the film, be they organic or fabricated, presenting a tactile appeal. Surface evokes contact and (...) touch, the look or sound it produces inviting consideration of its materiality, and perhaps even a tactile interchange. If the surface of film, across its varied associations, presents the possibility of an intersubjective contact between film and audience, this article seeks to include another body: that of the filmmaker. There are many people who contribute to the material constitution of a film and I would suggest that we might seek to appreciate its textures just as we might that of a painting. Focus on the fine... (shrink)

Many disciplines in the arts and social sciences are currently redirecting their attention to surfaces, and ways of treating them, as primary conditions for the generation of meaning. With regard to visual perception, this has entailed a switch from its optical to its haptic modality. How does this switch affect the way surfaces are understood? It is argued that with haptic vision, the emphasis is not on conformation but texture, as revealed in flows of material composition and in patterns of (...) self-shadowing – or in a word, in complexion. This makes the surface, whether of face, skin or landscape, quite distinct from that of a body or an object. Drawing on the ideas of John Ruskin, the haptically perceived surface is compared to a veil that is worn in the double sense of adornment and erosion, of affective expression and weathering. The article concludes that it is in the relations between such surfaces that social life is lived. (shrink)

Byrne & Hilbert propose that color can be identified with explicit properties of physical surfaces. I argue that this claim must be qualified to take into account constraints needed to make recovery of surface color information possible. When these constraints are satisfied, then a biological visual system can establish a correspondence between perceived surface color and specific surface properties.

In this paper, I consider a view that explains colour experience by the independent representation of surface and illumination. This view implies that surface colour is a phenomenal perceptual content. I argue from facts of colour phenomenology to the conclusion that surface colour is not a phenomenal perceptual content. I then argue from results of surface-matching experiments to the conclusion that surface colour is neither a perceptual content of any kind nor any sort of computational (...) output of the perceptual system. These conclusions contradict widely accepted views in both the philosophy of perception and colour science. I finish by considering and rejecting a competing account of the surface-matching results, according to which surface colour is represented indeterminately in perception. (shrink)

Peter Bornedalprovides an interpretation of Nietzsche's philosophy as a whole in the context of 19th century philosophy of mind and cognition.

A simple working taxonomy with three classes of pictorial completion is proposed as an alternative to Pessoa et al.'s classification: area, surface, and contour completion. The classification is based on psychophysical evidence, not on the different phenomenal attributes of the stimuli, showing that pictorial completion is likely to involve mechanistic interactions in the visual system at different levels of processing. Whether the concept of “filling-in” is an appropriate metaphor for the visual mechanisms that may underlie perceptual completion is questioned.

Marshall McLuhan understood television as a tactile medium. This understanding implied what Bruno Latour might call a ‘symmetrical’ conception of tactility. According to McLuhan, not only human actors are endowed with the sense of touch. In addition, TV, digital computers and other ‘electric media’ use light beams and similar scanning techniques for ceaselessly ‘caressing the contours’ of their surroundings. This notion of tactility was crucially shaped by the holistic aesthetics of the early Bauhaus. To get at the specific features of (...) the TV image, McLuhan relied on the writings of László Moholy-Nagy and Sigfried Giedion, in particular their use of photography for capturing and highlighting the ‘texture’ of surfaces. However, he hardly reflected the social and political factors that, in the age of electric media, contribute to the ‘symmetricization’ of touch. (shrink)

Picornaviruses can be divided into at least six receptor families based on results of competition binding and receptor antibody studies. It has been proposed that a canyon present within the virion capsid harbors the viral attachment site for this group of viruses. Cell surface proteins involved in viral attachment have been identified for both rhinoviruses and coxsackie B viruses. Several monoclonal antibodies have been isolated which specifically block the binding of some picornaviruses.

This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity as a key (...) mechanism for the enactment of “humanness”. The reading of Ex Machina will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings. (shrink)