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Joel Snyder [11]Joel S. Snyder [5]
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Joel Snyder
University of Chicago
  1.  79
    Photography, Vision, and Representation.Joel Snyder & Neil Walsh Allen - 1975 - Critical Inquiry 2 (1):143-169.
    Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. Furthermore, (...)
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  2.  22
    Finding the Music of Speech: Musical Knowledge Influences Pitch Processing in Speech.Christina M. Vanden Bosch der Nederlanden, Erin E. Hannon & Joel S. Snyder - 2015 - Cognition 143:135-140.
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  3.  33
    Picturing Vision.Joel Snyder - 1980 - Critical Inquiry 6 (3):499-526.
    I find it more than merely suggestive that we call many different kinds of pictures "realistic." As a category label, "realistic" is remarkably elastic. We cheerfully place into the category pictures that are made in strict accordance with the rules of linear perspective, pictures that are at slight variance with those rules but that nonetheless look perfectly "correct" , and pictures made in flagrant contravention of perspective geometry . We accept as realistic pictures that are made in strict accordance with (...)
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  4.  29
    Everyday Musical Experience is Sufficient to Perceive the Speech-to-Song Illusion.Christina M. Vanden Bosch der Nederlanden, Erin E. Hannon & Joel S. Snyder - 2015 - Journal of Experimental Psychology: General 144 (2):e43-e49.
  5.  3
    Hierarchical Beat Perception Develops Throughout Childhood and Adolescence and is Enhanced in Those with Musical Training.Jessica E. Nave-Blodgett, Joel S. Snyder & Erin E. Hannon - 2021 - Journal of Experimental Psychology: General 150 (2):314-339.
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  6.  30
    Testing Domain-General Theories of Perceptual Awareness with Auditory Brain Responses.Joel S. Snyder, Breanne D. Yerkes & Michael A. Pitts - 2015 - Trends in Cognitive Sciences 19 (6):295-297.
  7.  16
    How Previous Experience Shapes Perception in Different Sensory Modalities.Joel S. Snyder, Caspar M. Schwiedrzik, A. Davi Vitela & Lucia Melloni - 2015 - Frontiers in Human Neuroscience 9.
  8.  51
    Reflexions on "Las Meninas": Paradox Lost.Joel Snyder & Ted Cohen - 1980 - Critical Inquiry 7 (2):429-447.
    Surely [John R.] Searle must rely on a stable, formal conception of the point of view. He sets Las Meninas on a par with the antimony of the liar and the paradoxes of set theory. But nothing is an antimony or a paradox just because it seems so or just because it is confusing or difficult, even if it seems so to everyone. To deserve such a description, a thing must be, so to speak, intrinsically intractable, not merely resistant when (...)
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  9.  12
    The Concept of Artistic Volition.Erwin Panofsky, Kenneth J. Northcott & Joel Snyder - 1981 - Critical Inquiry 8 (1):17-33.
    Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the works of art (...)
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  10.  44
    "Las Meninas" and the Mirror of the Prince.Joel Snyder - 1985 - Critical Inquiry 11 (4):539-572.
    It is ironic that, with few exceptions, the now vast body of critical literature about Diego Velázquez’s Las Meninas fails to link knowledge to understanding—fails to relate the encyclopedic knowledge we have acquired of its numerous details to a convincing understanding of the painting as a whole. Las Meninas is imposing and monumental; yet a large portion of the literature devoted to it considers only its elements: aspects of its nominal subjects, their biographies, and their roles in the household of (...)
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  11. Benjamin on Reproducibility and Aura: A Reading of "The Work of Art in the Age of its Technical Reproducibility".Joel Snyder - 1983 - Philosophical Forum 15 (1):130.
     
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  12.  7
    Notes From the Ground.Joel Snyder - 2004 - Critical Inquiry 30 (2):477.
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  13. One/Many: Western American Survey Photographs by Bell and O'sullivan.Joel Snyder & Josh Ellenbogen - 2006 - Smart Museum of Art, the University of C.
     
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  14.  57
    Photography and Ontology.Joel Snyder - 1983 - Grazer Philosophische Studien 19 (1):21-34.
    Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...)
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  15.  15
    Photography and Ontology.Joel Snyder - 1983 - Grazer Philosophische Studien 19 (1):21-34.
    Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...)
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  16. Res Ipsa Loquitur.Joel Snyder - 2004 - In Lorraine Daston (ed.), Things That Talk: Object Lessons From Art and Science. Mit Press [Distributor]. pp. 195--221.
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