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Patrick Maynard [55]Patrick Lee Maynard [1]
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Patrick Maynard
University of Western Ontario
  1.  2
    Drawing Distinctions: The Varieties of Graphic Expression.Patrick Maynard - 2019 - Cornell University Press.
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  2.  49
    The Science of Art: Optical Themes in Western Art From Brunelleschi to SeuratPerspective as Symbolic Form.Patrick Maynard, Martin Kemp, Erwin Panofsky & Christopher S. Wood - 1994 - Journal of Aesthetics and Art Criticism 52 (2):243.
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  3.  61
    Drawing Distinctions: The Varieties of Graphic Expression.Patrick Maynard - 2005 - Cornell University Press.
    First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa (...)
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  4.  80
    The Engine of Visualization: Thinking Through Photography.Patrick Maynard - 1997 - Cornell University Press.
    First ever philosophy treatise on photography, analytic in approach but sensitive to photo-history, not confined to aesthetics or art (illus.), Walker Evans photo on cover. Papercover printing, Dec. 2000.
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  5.  28
    ‘Neuroaesthetics’, Gombrich, and Depiction.Patrick Maynard - 2016 - British Journal of Aesthetics 56 (2):191-201.
    For philosophical readers, a review of biology Nobel laureate Eric R. Kandel’s Age of Insight historical thesis, that today’s ‘neuroaesthetics’ is a continuation of Vienna’s great contributions to modernism from 1900 on, becomes a ‘critical study’, by closely examining Kandel’s valuable account of E.H. Gombrich’s psychology, then, broadly, his own case for the validity of ‘neuroaesthetics’. The article much credits Kandel for recognising and explaining—unlike most philosophers, with their epistemological and metaphysical perspectives—why Gombrich’s Art and Illusion is subtitled ‘Psychology’, since (...)
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  6.  16
    Aesthetics.Susan L. Feagin & Patrick Maynard (eds.) - 1997 - Oxford University Press.
    Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. (...)
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  7.  17
    Perspective's Places.Patrick Maynard - 1996 - Journal of Aesthetics and Art Criticism 54 (1):23-40.
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  8.  39
    Working Light.Patrick Maynard - 2010 - Philosophy of Photography 1 (1):29-34.
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  9.  89
    The Secular Icon: Photography and the Functions of Images.Patrick Maynard - 1983 - Journal of Aesthetics and Art Criticism 42 (2):155-169.
    'Photo-credit: David Hume': a dialogue showing how application of Hume's three vivacity principles of resemblance, contiguity and causation--even his illustrations of them--not only immediately clarify the main sources of interest in photography, but locate photography in the broad and fascinating history of various functions that images serve us, thereby dispelling ongoing mystification about it. (In the dialogue, Veronica represents our contiguity and causal interests, Miranda [named for a Japanese camera company] our depictive ('resemblance') interests, while Clara serves as philosophical moderator.).
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  10.  19
    Wayfinding: Notes on the ‘Public’ as Interactive.Patrick Maynard - 2015 - Review of Philosophy and Psychology 6 (1):27-48.
    “Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. (...)
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  11.  6
    On Art and the Mind.Patrick Maynard - 1977 - Philosophical Review 86 (1):125.
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  12.  28
    Seeing Double.Patrick Maynard - 1994 - Journal of Aesthetics and Art Criticism 52 (2):155-167.
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  13. Photography.Patrick Maynard - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  14. Conceptual Change.Glenn Pearce & Patrick Maynard (eds.) - 1973 - Boston: D. Reidel.
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  15.  29
    Real Imaginings. [REVIEW]Patrick Maynard - 1991 - Philosophy and Phenomenological Research 51 (2):389.
  16.  26
    `What Will Surprise You Most': Self-Regulating Systems and Problems of Correct Use in Plato's..Patrick Maynard - 2000 - Journal of the History of Philosophy 38 (1):1.
  17.  44
    Talbot's Technologies: Photographic Depiction, Detection, and Reproduction.Patrick Maynard - 1989 - Journal of Aesthetics and Art Criticism 47 (3):263-276.
    Philosophy's only celebration of photography's 150th, the long-neglected philosophical job of clarification: drawing basic distinctions and defining basic conceptions, including photographic depiction, photographic detection, 'photograph of', 'documentary'. More than a lexicon, it explains why photography is important, by historically characterizing it through its uses for depiction, detection, reproduction, all of which have shaped the modern world. By consideration of it as 'mechanical', the paper explains photography's differences from practices with which it shares these functions. Happy birthday, photography.
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  18.  8
    Interpretation: A General Theory.Patrick Maynard - 1968 - Philosophical Review 77 (1):106-109.
  19. Forms of Representation: Proceedings of the 1972 Philosophy Colloquium of the University of Western Ontario.B. Freed, Ausonio Marras & Patrick Maynard (eds.) - 1975 - American Elsevier Pub. Co..
     
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  20.  64
    Arts, Agents, Artifacts: Photography's Automatisms.Patrick Maynard - 2012 - Critical Inquiry 38 (4):727-745.
    Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers the (...)
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  21. A Legacy of Light: Review of Ansel Adams: An Autobiography; and Mark Klett, Travels in the Desert Southwest. [REVIEW]Patrick Maynard - 1987 - Canadian Review of American Studies 18 (1):127-131.
     
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  22. Comments on Whitney Davis, "The Origins of Image-Making".Patrick Maynard - 1986 - Current Anthropology 27 (3):206-207.
     
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  23. Can Seeing Be an Art, Really?Patrick Maynard - 2007 - Source (Belfast) 53:48-51.
    Joint interview, with Kendall Walton, by Richard West.
     
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  24.  57
    Drawing and Shooting: Causality in Depiction.Patrick Maynard - 1985 - Journal of Aesthetics and Art Criticism 44 (2):115-129.
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  25.  39
    Drawing Distinctions I: The First Projects.Patrick Maynard - 1997 - Philosophical Topics 25 (1):231-253.
    Introduces philosophers to John Willats' effective new drawing systems vocabulary for describing drawings and related images, also stresses topological-space values in pictures, vs psychology's projective tendencies (illus).
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  26. Drawing, Painting, and Print-Making.Patrick Maynard - 2009 - In Robert Hopkins (ed.), Blackwell Companion to Aesthetics. Wiley-Blackwell.
    A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.
     
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  27.  17
    Depiction, Vision, and Convention.Patrick Maynard - 1972 - American Philosophical Quarterly 9 (3):243 - 250.
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  28. Form.Patrick Maynard - 1996 - In The Grove Dictionary of Art. Macmillan.
    'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
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  29.  14
    Introduction to Perspectives on the Arts and Technology.Patrick Maynard - 1997 - Journal of Aesthetics and Art Criticism 55 (2):95-106.
  30.  41
    Review of James Cutting, Impressionism and its Canon.Patrick Maynard - 2007 - Journal of Aesthetics and Art Criticism 65 (2):246–248.
  31. Images: Five Questions.Patrick Maynard - 2015 - In Aud Sissel Hoel (ed.), Images: Five Questions. Vince Inc Press.
     
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  32. Photo-Opportunity.Patrick Maynard - 1991 - Canadian Review of American Studies 22 (3):501-528.
    Review of literature and independent essay on the 1989 sesquicentennial of photography, winner of Canadian Association for American Studies 1991 award for paper that "best exemplifies the discipline of American Studies".
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  33. Photography and Technology.Patrick Maynard - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, v. 3. Oxford University Press.
    Extensive revision of 1998 entry (for expanded new edition of Encyclopedia of Aesthetics) to include, besides mini-essays on technology, art, depiction and the aesthetic, a development of the last in terms of facture--the materials of a work and their working there, as perceivable in the work.
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  34.  97
    Portraits as Displays.Patrick Maynard - 2007 - Philosophical Studies 135 (1):111 - 121.
    Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, (...)
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  35.  9
    Professor Gass's Transformations.Patrick Maynard - 1976 - Journal of Philosophy 73 (19):742-743.
  36. Photo Mensura.Patrick Maynard - forthcoming - In Nicola Moeßner & Alfred Nordmann (eds.), The Epistemology of Measurement: Representational and Technological Dimensions. Routledge.
  37. Pictures of Perspective: Theory or Therapy?Patrick Maynard - 2003 - In Margaret Atherton Heiko Hecht & Robert Schwartz (eds.), Looking into Pictures.
    From a perceptual psychology and philosophy conference on linear perspective: points out standard fallacies about perspective, then challenges psychology's and philosophy's widespread assumption that a satisfactory understanding of depiction in any medium can be reached via theories of spatial--or any other kind of--visual perception.
     
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  38. "We Can't, Eh, Professors?": Photo Aporia.Patrick Maynard - 2006 - In James Elkins (ed.), The Art Seminar: Photography Theory. Routledge.
     
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  39.  6
    Real ImaginingsMemesis As Make-Believe.Patrick Maynard & Kendall Walton - 1991 - Philosophy and Phenomenological Research 51 (2):389.
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  40. Review of Barbara Savedoff, Transforming Images: How Photography Complicates the Picture. [REVIEW]Patrick Maynard - 2001 - Modernism and Modernity 8 (2):338-340.
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  41.  51
    Review of Cynthia Freeland, Portraits and Persons: A Philosophical Inquiry. [REVIEW]Patrick Maynard - 2011 - British Journal of Aesthetics 51 (4):449-453.
  42. Review of David Rosand, Drawing Acts: Studies in Graphic Expression and Representation. [REVIEW]Patrick Maynard - 2005 - Journal of Aesthetics and Art Criticism 63 (1):81-82.
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  43.  3
    Review of Erwin Panofsky, Perspective as Symbolic Form (Transl. C.S. Wood), and Martin Kemp, The Science of Art. [REVIEW]Patrick Maynard - 1994 - Journal of Aesthetics and Art Criticism 52 (2):84-85.
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  44. Review of Flint Schier, Deeper Into Pictures. [REVIEW]Patrick Maynard - 1987 - Word and Image 3 (4):325-326.
     
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  45.  3
    Review of J. Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern.Patrick Maynard - 1991 - Journal of Aesthetics and Art Criticism 49 (4):390-392.
  46. Review of Richard Bolton (Ed.), The Contest of Meaning: Critical Histories of Photography.Patrick Maynard - 1992 - Journal of Aesthetics and Art Criticism 50 (1):68-71.
    Editor's errata: Journal of Aesthetics and Art Criticism 52.2 (Spring 1994): 167.
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  47. Review of Review of Marianne Hirsch, Family Frames: Photography, Narrative, and Postmemory.Patrick Maynard - 1999 - Biography 22 (1):118-121.
     
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  48.  23
    Review of Hubert Damisch, The Origin of Perspective. [REVIEW]Patrick Maynard - 1997 - Journal of Aesthetics and Art Criticism 55 (1):389 - 394.
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  49. Scales of Space and Time in Photography: Perception Points Two Ways.Patrick Maynard - 2008 - In Scott Walden (ed.), Philosophy and Photography.
    Combining ideas of perceptual psychologists J.J. Gibson and J.E. Cutting, moving on to answer the arguments of the "Naysayers" against autonomous and artistic meaning in photographs.
     
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  50. The Grove Dictionary of Art.Patrick Maynard - 1996 - Macmillan.
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