35 found
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  1.  9
    Getting Fra Angelico’s splotch out: rehabilitating visual cognitive semiotics.Ian Verstegen - 2022 - Semiotica 2022 (249):1-18.
    Most contemporary approaches to meaning presume the limitation of semiotics (Didi-Huberman, Gumbrecht, Belting). The question of what kind of “semiotics” is required has not been asked. However, without some general science of meaning it is impossible to reform theory without committing past errors or ignoring progress. In the interest of reconnecting contemporary interests in “presence” to long-evolving needs, I review the ossification and decline of one theory of semiotics that serves as the tacit model rejected today. I return to problems (...)
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  2. Symposium on The Space That Separates: A Realist Theory of Art.Dave Elder-Vass, Andrew Sayer, Tobin Nellhaus, Ian Verstegen, Alan Norrie & Nick Wilson - 2022 - Journal of Critical Realism 22 (1):90-121.
    Editor’s NoteThanks to the initiative of Alan Norrie, we are pleased to present here a symposium on Nick Wilson’s book The Space that Separates: A Realist Theory of Art. Several authors have contri...
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  3.  20
    Arnheim, Gestalt and Media: An Ontological Theory.Ian Verstegen - 2018 - Cham: Springer Verlag.
    This monograph presents a synthesis and reconstruction of Rudolf Arnheim’s theory of media. Combining both Arnheim’s well-known writings on film and radio with his later work on the psychology of art, the author presents a coherent approach to the problem of the nature of a medium, space and time, and the differentia between different media. The latent ontological commitments of Arnheim’s theories is drawn out by affirming Arnheim’s membership in the Brentano school of Austrian philosophy, which allows his theories to (...)
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  4.  7
    Cognitive Iconology: When and How Psychology Explains Images.Ian Verstegen - 2014 - Editions Rodopi.
    Cognitive Iconology is a new theory of the relation of psychology to art. Instead of being an application of psychological principles, it is a methodologically aware account of psychology, art and the nature of explanation. Rather than fight over biology or culture, it shows how they must fit together. The term “cognitive iconology” is meant to mirror other disciplines like cognitive poetics and musicology but the fear that images must be somehow transparent to understanding is calmed by the stratified approach (...)
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  5.  11
    Crying Hegel in Art History.Ian Verstegen - 2016 - Journal of Critical Realism 15 (2):107-121.
    Within cultural history there is a widespread eschewal of speculative reasoning. This article notes the complicity of the general postmodern avoidance of metanarratives with Anglo-Saxon empiricism and locates the major problem facing cultural history in postmodernism's conflation of trajectories and teleologies. Any discussion of the directionality of history is imputed to be a full-blown teleology. Using previous discussions from different fields, the difference between a teleology and trajectory is defended and, after clarifying certain confusions, it is argued that trajectories, as (...)
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  6.  10
    Maurice Mandelbaum and American critical realism.Ian Verstegen (ed.) - 2010 - New York: Routledge.
    Many have wondered about the similarity in name of American critical realism and the movement of the same name begun by Roy Bhaskar. The figure of Maurice Mandelbaum complicates the relationship, not only due to his career bridging the two movements but also Mandelbaum's concern not only with traditional concerns of American critical realism (epistemology and philosophy of science) but the nature of society, the nature of social explanation, and naturalism. This volume reflects both on Mandelbaum's own career and the (...)
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  7.  25
    Arnheim and Gombrich in social scientific perspective.Ian Verstegen - 2004 - Journal for the Theory of Social Behaviour 34 (1):91–102.
    The two most common names to invoke for a perceptualist aesthetics are Rudolf Arnheim and E. H. Gombrich. But the similaritied and differences between them have never been explicitly drawn. This paper undertakes such an analysis based on the three categories of representation, expression and historical objectivity. Arnheim's less stringent solutions to the problems of representation and expression are applauded but Gombrich's unique attempt to ground both of these categories in a form amenable to non-historicist approach to history are also (...)
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  8.  14
    Critical Realist Foundations for Berlin Comparative Musicology(vergleichende Musikswissenschaft).Ian Verstegen - 2023 - Gestalt Theory 45 (1-2):85-100.
    Summary Is it possible to discover the critical realist foundations of Gestalt theory in Berlin comparative musicology (vergleichende Kunstwissenschaft) associated above all with Erich M. von Hornbostel? The balance of natural science explanation and phenomenal experience is a useful model for overcoming Eurocentrism in comparative ethnomusicology, relying both on third-person tools and indigenous music systems. This paper uses Gestalt critical realist epistemology and methodology and a portrayal of the strata making up the understanding of a musical act with chemico-physical, phenomenal (...)
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  9.  16
    Reforming visual semiotics: The dynamic approach.Ian Verstegen - 2014 - Semiotica 2014 (200):31-48.
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  10. A Critical Realist Perspective on Aesthetic Value.Ian Verstegen - 2006 - Journal of Critical Realism 5 (2):323-343.
    _ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aesthetic value. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aesthetic value absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent judgmental relativism. Then a rough (...)
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  11.  20
    When Are We Speculating on History? A Mandelbaumian Theory.Ian Verstegen - 2012 - Journal of the Philosophy of History 6 (1):60-83.
    Abstract This paper is a classic critique of speculative philosophies of history based on Maurice Mandelbaum's work. Unlike the more famous invective by Karl Popper, I argue that Mandelbaum's is a richer and more interesting approach, which reveals through exposition a deeper unity to Mandelbaum's work than is normally evident. Because Popper's nominalism is suspicious of all metaphysics, it loses credibility whereas Mandelbaum placed reflection on the nature of society and causality at the center of his interests. Mandelbaum's critique then (...)
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  12.  12
    Ragionamenti percettivi: saggi in onore di Alberto Argenton.Carlo Maria Fossaluzza, Ian Verstegen & Alberto Argenton (eds.) - 2014 - Milano: Mimesis.
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  13.  11
    Cultivating Picturacy: Visual Art and Verbal Interventions.Ian Verstegen - 2008 - Journal of Aesthetics and Art Criticism 66 (3):311-312.
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  14.  41
    Arnheim's lesson: Cubism, collage, and gestalt psychology.Roger Rothman & Ian Verstegen - 2007 - Journal of Aesthetics and Art Criticism 65 (3):287–298.
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  15.  29
    Arte e Espressione. Studi e Ricerche di Psicologia Dell'arte by argenton, alberto.Ian Verstegen - 2010 - Journal of Aesthetics and Art Criticism 68 (2):196-197.
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  16.  20
    A Formalist Reborn.Ian Verstegen - 1999 - Film-Philosophy 3 (1).
    Rudolf Arnheim _Film Essays and Criticism_ Madison: University of Wisconsin Press, 1997 ISBN: 0-299-15260-X ISBN: 0-299-15264-2 253 pp.
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  17.  3
    A Plea for a Cognitive Iconology within Visual Culture.Ian Verstegen - 2006 - Contemporary Aesthetics 4.
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  18.  6
    Britsch's Lesson.Ian Verstegen - 2015 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 60 (2):87-97.
    Rudolf Arnheim’s theory of perception has been used to challenge the highly influential account of synthetic Cubism as a sign-like process of Rosalind Krauss and Yve-Alain Bois. While the use of Arnheim’s idea of perceptual substitution works in a theoretical sense, it is less successful as a historical argument, because unlike Picasso’s art dealer, Daniel-Henry Kahnweiler, who is discussed by Bois, Arnheim’s ideas weren’t formulated until the 1950s. This article enriches the theoretical argument made on behalf of Arnheim by supplying (...)
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  19.  10
    Come dire oggettivamente che la prospettiva è relativa.Ian Verstegen - 2011 - Rivista di Estetica 48:217-235.
    This article attempts to utilize the conceptual clarity typical of the work of Lucia Pizzo Russo to address the muddled question of the objectivity of perspective. By separating out the distinct problems of the objectivity of optical geometry, simple sight, and object recognition, we can clarify what we are not discussing when talking about linear perspective. These forms of objectivity are secured. But the claim is still made that linear perspective in pictorial perception is relative, because its results are not (...)
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  20. Conclusion: Medial Wisdom.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  21. Defining Difference in Media.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  22.  17
    Doing underlaboured theory.Ian Verstegen - 2018 - Journal of Critical Realism 17 (3):233-243.
    ABSTRACTThis essay connects the two critical realist ideas of underlabouring and meta-theory, making the argument that the process of underlabouring and making ‘disclosure and transformation of the deep categorical structures of science and theory’ is ideal for clarifying strata of theory and therefore points of agreement between different practitioners. Using the 1980s debates over feminism in art history, I show how two important interlocutors – T. J. Clark and Griselda Pollock – used Marxist meta-theory to establish a baseline on which (...)
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  23.  22
    Frondizi and Mandelbaum on the Phenomenology and Ontology of Value.Ian Verstegen - 2019 - Gestalt Theory 41 (3):277-291.
    Summary In this article the ethical systems of Risieri Frondizi and Maurice Mandelbaum, both decisively influenced by Wolfgang Köhler, are investigated for the first time. Each writer took different things from Köhler, Frondizi the idea of value as a Gestalt quality and Mandelbaum the idea of value as a felt demand. Their positions are highly complementary and Frondizi’s axiological approach enlightens the ontology of value whereas Mandelbaum’s phenomenological approach clarifies the nature of “requiredness” (Köhler) or “fittingness.”.
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  24. Gestalt Ontology.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  25. How to speak objectively on perspective and related.Ian Verstegen - 2011 - Rivista di Estetica 48:217-235.
     
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  26. Is historical antirealism (ever) politically progressive?Ian Verstegen - 2023 - In Tor Egil Førland & Branko Mitrovic (eds.), The Poverty of Anti-realism: Critical Perspectives on Postmodernist Philosophy of History. Lanham: Lexington Books.
     
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  27. Mandelbaum's noble dream : historical objectivism through a century of debate.Ian Verstegen - 2010 - In Maurice Mandelbaum and American Critical Realism. Routledge.
     
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  28.  33
    Revisiting Arnheim and Gombrich in Social Scientific Perspective.Ian Verstegen - 2018 - Journal of Aesthetics and Art Criticism 76 (1):45-55.
    This article revisits an earlier social scientific analysis of the thought of Rudolf Arnheim and E. H. Gombrich. Adding to the earlier analysis in terms of social ontology and historical development is an analysis of the sufficiency of perception to yield information about the world, both in ordinary and in artistic contexts. Gombrich held to an idea of perception as hypothesis testing, and it joins with Popper's philosophy in the deferred warrant of the perceptual image. Arnheim, instead, followed the Gestalt (...)
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  29. The Ontology of the Individual Modalities.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  30.  9
    The Politics of Physiognomic Perception.Ian Verstegen - 2022 - Gestalt Theory 44 (1-2):183-200.
    Summary This article stages a confrontation between latent nominalist attitudes about inherent expression in perception—physiognomy—and new affective modes. In a classic analysis, Gombrich warned of the lack of veridicality of physiognomic perception, a sentiment endorsed by postmodern theories. At the same time, affect theory affirms a level of directly available intensities. Using the example of Rudolf Arnheim, it can be seen that the two are really specular opposites of each other, each merely valorizing different poles of the affect-cognition scale. Arnheim’s (...)
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  31. The Spatial and Temporal Modalities.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  32. The Two Elementary Classes of Aesthetic Objects: Spatial and Temporal Modalities.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  33. What All Media Share.Ian Verstegen - 2018 - In Arnheim, Gestalt and Media: An Ontological Theory. Cham: Springer Verlag.
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  34.  25
    What Can Arnheim Learn from Flusser?Ian Verstegen - 2014 - Flusser Studies 18 (1).
    This paper fills a gap in Flusser scholarship by conducting an initial comparison of Flusser with Rudolf Arnheim. After noting their similar approaches – open both to science and phenomenology – it looks closely at each theorist’s respective theory of photography. They differ in that Flusser believes that the photography as a technical apparatus is not objective. However, with some contextualization each can be seen to say complementary things. Reflecting on each theorist’s cautiously optimistic or pessimistic approach to evolving media, (...)
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  35.  7
    What Does Realism Entail for the Humanist?Ian Verstegen - 2014 - In Guido Bonino, Greg Jesson & Javier Cumpa (eds.), Defending Realism: Ontological and Epistemological Investigations. Boston: De Gruyter. pp. 417-444.
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