Auth: University College London, Distributed by Viking.

We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...) otherwise implying it. Now, as predicted by the well-supported assumption that we can also assert with pictures, the lying/misleading distinction appears to intuitively show up there too. Here I’ll explain how the debate confronting the two accounts plays out both in general and in that case, aiming to provide support for the adverbial account. (shrink)

In his long-awaited new edition of Philosophy of Mathematics, James Robert Brown tackles important new as well as enduring questions in the mathematical sciences. Can pictures go beyond being merely suggestive and actually prove anything? Are mathematical results certain? Are experiments of any real value?" "This clear and engaging book takes a unique approach, encompassing nonstandard topics such as the role of visual reasoning, the importance of notation, and the place of computers in mathematics, as well as traditional topics (...) such as formalism, Platonism, and constructivism. The combination of topics and clarity of presentation make it suitable for beginners and experts alike. The revised and updated second edition of Philosophy of Mathematics contains more examples, suggestions for further reading, and expanded material on several topics including a novel approach to the continuum hypothesis."--BOOK JACKET. (shrink)

According to Dominic Lopes, expressiveness in pictures should be analyzed solely in terms of “expression looks” of various sorts, namely the look of a figure, a scene and/or a design. But, according to this view, it seems puzzling that expressive pictures should have any emotional effect on their audiences. Yet Lopes explicitly ties his “contour theory” of expression in pictures to empathic responses in spectators. Thus, despite his deflationary account of pictorial expression, he claims that pictures (...) can give us practice in various “empathic skills.” I argue that Lopes’s account of empathic responses to pictures, while interesting and enlightening, nevertheless ignores the most important way in which pictures exercise and enhance our empathic skills, namely, by giving us practice in taking the emotional perspective of another person. (shrink)

This is indeed a fallacy, if the relevant sort of consistency is logical consistency. However, the expression “is consistent with” is often used by scientists to mean something much stronger, something like confirms or even strongly confirms.

Previous studies have shown that viewing cute pictures leads to performance improvement in a subsequent fine motor task. We examined the beneficial effects of viewing cute pictures in a more complex sporting skill by comparing three conditions and two tests. The participants, all of whom were college basketball players, performed 16 free throws in each condition. In the no-pressure test, male participants improved performance after viewing pictures of baby animals but not after adult animals and no (...) class='Hi'>pictures. In the pressure test, no significant improvement was observed. For female participants, the cuteness-viewing effect was not observed in both tests. The results suggest that viewing cute pictures may improve performance during basketball free throws in a low-pressure situation by narrowing the breadth of attentional focus and inducing approach motivation and caregiving behaviors. (shrink)

In Sight and Sensibility Dominic Lopes argues that expressiveness in pictures should be analyzed on the model of the “contour” theory of musical expressiveness, according to which an “expression” need not express anything about the inner psychological states of a person. According to his “contour theory of pictorial expression,” expression by scenes and designs requires “no being to whom the expressed emotion is attributable”. However, on this account expression has lost its fundamental raison d’être, that of manifesting somebody’s actual (...) emotional states. By contrast, I argue that successful works of pictorial expression depict the way the world appears to someone when in some emotional state. Moreover, the emotional attitude thus expressed by the work is an important unifying principle for pictures, and hence an important artistic value. (shrink)

It is a common view in cognitive psychology that there is a fundamental difference between what may be called descriptive information, on the one hand, and depictive information, on the other. While the first kind of information is — ideally spoken — non-pictorial and usually equated with the content of a proposition, the second kind of information is pictorial by defmition and accordingly equated with the content of a mental image. Granting the correctness of this distinction, cognitive scientists differ on (...) the role played by mental images in epistemic processes. One faction, represented by the writings of Zenon Pylyshyn, asserts that mental images are merely an epiphenomenon of a more general and abstract processing system, and that they are in principle dispensable since they do not have any truth value.1 Another faction, represented by the writings of Stephen Kosslyn, favors the opposite view, maintaining that mental images are indispensable since they play, in spite of their lack of truth value, a fundamental role in human thinking.2 As Arthur I. Miller has proposed in his book Imagery in Scientific Thought , these two factions may be labeled as the “antiimagist” and the “pro-imagist” view, respectively. (shrink)

It is a common view in cognitive psychology that there is a fundamental difference between what may be called descriptive information, on the one hand, and depictive information, on the other. While the first kind of information is — ideally spoken — non-pictorial and usually equated with the content of a proposition, the second kind of information is pictorial by defmition and accordingly equated with the content of a mental image. Granting the correctness of this distinction, cognitive scientists differ on (...) the role played by mental images in epistemic processes. One faction, represented by the writings of Zenon Pylyshyn, asserts that mental images are merely an epiphenomenon of a more general and abstract processing system, and that they are in principle dispensable since they do not have any truth value.1 Another faction, represented by the writings of Stephen Kosslyn, favors the opposite view, maintaining that mental images are indispensable since they play, in spite of their lack of truth value, a fundamental role in human thinking.2 As Arthur I. Miller has proposed in his book Imagery in Scientific Thought, these two factions may be labeled as the “antiimagist” and the “pro-imagist” view, respectively. (shrink)

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings (...) through touch. This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary (...) social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights (...) into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

ABSTRACTIn the present study, attentional bias was investigated as a potential predisposing mechanism for the contamination-related subtype of obsessive-compulsive disorder. Fifty healthy participants with varying degrees of subclinical C-OC symptoms performed a visual search task to measure differential attentional biases elicited by neutral, disgust-, and fear-specific pictorial material. Participants had to find a target picture within five neutral distractor pictures randomly presented on different locations in an array. The task was to decide whether the array contained an unpleasant target (...) picture or not. In randomly-selected emotional trials, participants were further asked about the content of the picture and the confidence of their answer. The results show that the reaction times significantly differed between the emotional and neutral pictures. Participants were significantly more confident in answering questions referring to fear compared to disgust pictures. This effect was mar... (shrink)

In this article, I elaborate on the approach to joy preserved in East Asian Yogācāra texts authored by Xuanzang and his disciple, Kuiji. I argue that these Yogācāra Buddhists propose a contextualist approach that does not presume joy to be an emotion with an essential property but rather perceives joy as always contextualized in lifeworlds at the personal and interpersonal levels. As such, Xuanzang and Kuiji outline two contrasting pictures of joy to capture how it is experienced in the (...) lifeworld of ignorance and the lifeworld of wisdom, respectively. Upon delineating what joy is and how it is experienced, I continue to explore what joy can promise. Since joy does not have an inherent property, people can always make a collaborative effort to recontextualize joy for inclusion and emancipation. As such, I hope to draw on the Yogācāra analysis of joy to enrich the feminist discussion on happiness. (shrink)

For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are analysed and connected with (...) the New Objectivity paintings on a modernist background. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate (...) that motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

The article discusses the problem of coexistence of different types of rationality, different scientific and linguistic pictures of the world as well as the problem of the adoption by one culture of another culture’s scientific picture of the world with accompanying transformations of the linguistic picture of the world of the recipient culture. The article deals with the experience of mutual research and collision between Western and Chinese traditions, using the example of medical science. The author examines the problem (...) of the transfer of scientific medical knowledge from Western to Chinese culture in the context of a radical mismatch of scientific and linguistic pictures. The articles considers two different approaches to the translation of Western medical terminology into Chinese, developed at different times by English translators Benjamin Hobson and John Fryer. Hobson was focused on harmonizing new terminology with the usual concepts of the world language picture of the recipient. Fryer preferred to introduce new specific terms, artificially created directly for the needs of a new scientific picture of the world. In the field of medical terminology, the first of the two approaches turns out to be more viable, since it is more focused on its “end users” – Chinese doctors who study Western medicine in order to use its methods in their medical practice. Therefore, there is only partial applicability of the approaches, methods and terminology developed in one tradition for the evaluation and development of another tradition. (shrink)

Criticism of ‘the West’ and of ‘Western civilization’ in Germany in the early 20th century is generally most familiar today as a conservative force of the age. It is well-known that at the outbreak of war in August 1914 a longstanding German complex of resentment of the Western European powers exploded in a call to arms. Yet it needs to be stressed that not all prominent German bourgeois writers endorsed a wholly militant reading of the motif of German national-cultural ‘protest (...) at the West’. By 1918 an array of voices could come to discern another kind of salient work of contention that refused apology for any kind of violent Kulturkrieg. The thesis defended in this article is that in sophisticated humanistic writing of the era, a German mood of antagonism with the West represents not a regressive ideology but the productive and intelligent outcome of a longstanding preeminence of philosophical questioning in German academic life since the later 19th century about European world pictures and their claims to universal validity on the stage of world history. A range of statements are shown here to anticipate debates of the present day about ‘late’, ‘reflexive’ or ‘post-Eurocentric’ conditions of Western modernity. (shrink)

The System of Existential Graphs may be characterized with great truth as presenting before our eyes a moving picture of thought. Provided this characterization be taken not as a flatly literal statement, but as a simile, it will, I venture to predict, surprise you to find what a strain of detailed comparison it will bear without snapping.Peirce once called his graphical system of logic—the Existential Graphs or EGs—the moving pictures of thought. In this essay, I argue that Peirce meant (...) that using his graphs to study the movement of thought is akin to Eadweard Muybridge’s use of moving pictures to study animal motion, and I show that this analogy is highly apt for several reasons. The analogy is apt because:... (shrink)

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are (...) premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars. (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...) of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Some philosophers have argued that Wittgenstein’s hinges, the centrepiece of his book On Certainty, are the “ungrounded ground” on which knowledge rests. It is usually understood by this that hinges provide a foundation for knowledge without being themselves epistemically warranted. In fact, Wittgenstein articulates that hinges lack any truth-value and are neither justified nor unjustified. This inevitably places them wholly outside the categorial framework of JTB epistemology. What I call the “groundlessness interpretation”, inspired by OC 166, understands the fundamental pieces (...) of our cognitive scaffolding this way. The view has been largely successful. I argue that this interpretation is incomplete for two basic reasons: first, it is not based on undisputed evidence; second, by assuming that hinges are committed to reality by epistemic fiat, it looks as if Wittgenstein is asking us to blindly trust them regardless of their actual content. Contrary to this, I argue that Wittgenstein describes hinges as illuminating world-pictures that reflect reality and are answerable to facts in a derivate way. As the book shows, hinges originate in our engagement with reality and, while considered unquestionable, could be challenged, reassessed, and replaced by new ones. This indicates that hinges are both the result of knowledge-acquisition and somewhat continuous with one’s set of beliefs. It follows that hinges are ultimately rational, and so, apt instruments to confront scepticism. (shrink)

Esprit or ?ingenuity? was one of the principle qualities sought by the connoisseurs who populate seventeenth?century Flemish pictures of collections. This essay scrutinizes the ways in which the flourishing discipline of connoisseurship was depicted, explored and fashioned in Antwerp gallery interiors. Placing these images within the context of Early Modern writings on discernment, Gage explores the ways in which the directed gazes, postures and gestures of cognoscenti reflect the growth of trained artistic judgement within the period?s elite, concluding that (...) such images exemplify a major social and epistemological shift in which one can make apparent one?s universal understanding and keen judgement, and to rightly claim membership in a nobility, no longer defined solely by lineage, but also by learning. (shrink)

Some philosophers have argued that Wittgenstein’s hinges, the centrepiece of his book On Certainty, are the “ungrounded ground” on which knowledge rests. It is usually understood by this that hinges provide a foundation for knowledge without being themselves epistemically warranted. In fact, Wittgenstein articulates that hinges lack any truth-value and are neither justified nor unjustified. This inevitably places them wholly outside the categorial framework of JTB epistemology. What I call the “groundlessness interpretation”, inspired by OC 166, understands the fundamental pieces (...) of our cognitive scaffolding this way. The view has been largely successful. I argue that this interpretation is incomplete for two basic reasons: first, it is not based on undisputed evidence; second, by assuming that hinges are committed to reality by epistemic fiat, it looks as if Wittgenstein is asking us to blindly trust them regardless of their actual content. Contrary to this, I argue that Wittgenstein describes hinges as illuminating world-pictures that reflect reality and are answerable to facts in a derivate way. As the book shows, hinges originate in our engagement with reality and, while considered unquestionable, could be challenged, reassessed, and replaced by new ones. This indicates that hinges are both the result of knowledge-acquisition and somewhat continuous with one’s set of beliefs. It follows that hinges are ultimately rational, and so, apt instruments to confront scepticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Leonhart Fuchs on the Importance of PicturesSachiko KusukawaIf not for the attractive plant with overhanging flute-like flowers that was named after him, Leonhart Fuchs (1501–66) is best known today as one of the pioneers of accurate representations of plants in histories of scientific illustrations.1 The pictures in Fuchs’s Remarkable Commentaries on the History of Plants (1542) have been appreciated usually for their “naturalistic” features (i.e., pictures drawn (...) from observing a plant specimen), as well as for their tendency to discard individual blemishes and portray a universal or ideal “type” of a plant where several varieties of species could be incorporated into one bush, or where various stages of the same plant may be depicted in one figure.2 On the other hand no historian of botany who has examined the text these pictures accompanied has found that such qualities as observation from nature or a sense of “ideal type” contributed to Fuchs’s theoretical understanding of [End Page 403] plants: he lacked any sense of the family genera or Linnean classification, for he had simply adopted an alphabetical ordering.3Fuchs himself considered his pictures remarkable—as he was at pains to point out—and he believed his pictures were absolutely crucial for his commentary on plants. My immediate aim in this paper, therefore, is to offer an interpretation of Fuchs’s Remarkable Commentaries on the History of Plants which does not split the work into artistically positive and botanically negative elements. As I shall argue, the uniqueness and so the controversial nature of Fuchs’s enterprise lies in the kind of argument and procedure he believed to be valid for an academic study of plants. More generally, I hope to use this reassessment of Fuchs’s work to show how pictures could be as controversial as texts and how the uses of texts and pictures together form past acts which require historical explanation. Click for larger view View full resolutionFigure 1.The Artists. Leonhart Fuchs, De historia stirpium, 1542, verso of last folio page. Reproduced by permission of the Syndics of Cambridge University Library.In 1542 Fuchs published his Remarkable Commentaries on the History of Plants Belaboured with Great Expense and Vigilance with More than Five Hundred Live Images of Plants Attached. It begins with a picture of Fuchs, the author, at the age of forty-one and ends with that of the artists (fig. 1). Although the division of labor depicted here seems to have been a standard one for printing illustrated books in this period,4 it is unusual that we know their names. Albrecht Meyer did the drawings from life, Heinrich Füllmaurer transferred the drawings to woodblocks, and Veit Rudolf Speckle cut those woodblocks.5 Fuchs was proud of one of the artists in particular: “the woodcutter [sculptor] Veit Rudolf Speckle, by far the best in Strasbourg, excellently imitated the admirable industry of painters: he has so skilfully expressed the outlines of each picture by carving [sculpendo] that he seems to compete with the painter for glory and victory.”6 A comparison between the painter and the sculptor had been a favorite topic in the Renaissance genre of paragone—Leonardo da Vinci, Galileo, Castiglione, and Michaelangelo composed treatises on it—where the [End Page 404] relative merits of various mimetic arts were discussed.7 Fuchs’s comment on Speckle is more nuanced, however, than a polite competition between the arts over their mimetic skills: Fuchs announces that Speckle is worthy of praise in producing a picture—normally the domain of the painter (pictor)—with the specialized skill of carving of the cutter (sculptor). This is surely an appreciation of the particular skill involved in producing replicable pictures for printed books, just as Erasmus had, a generation earlier, acknowledged in Albrecht Dürer’s prowess at engraving the potential for reproducibility in a print culture.8 Indeed, of the artists involved in printing, it was the woodcutter who could expect to be paid most in this period—nearly fifteen times more than the artist who originally drew the pictures.9 Click for larger view View full resolutionFigure 2.Atriplex. Theodore Dorsten, Botanicon, 1540, fol. 35r. Reproduced... (shrink)

(1984). Showing Movement in Children's Pictures: a study of the effectiveness of some non‐mimetic representations of motion. Educational Studies: Vol. 10, No. 3, pp. 255-261.

This study proposed to compare and analyze the five stages of cultivating the Yogâcāra path and the spiritual journey in the Ten Ox-Herding Pictures. To achieve this, the study investigated the core concepts and practice methods of the two approaches and analyzed their relations from the literatures reviewed. The results showed that the end goal of the two approaches is the same, the attainment of Buddhahood, with the two having common characteristics including the practice of being aware of the (...) impermanent and no-self, and the fulfilling benefit of sentient beings. The results suggest that our Buddhist practice system needs to sincerely consider the realistic ways by which one can help people in agony in contemporary society, not by emphasizing on the enlightenment through a specific practice way for all people, but by tailored practice methods based on each one’s faculties in understanding Buddhism. (shrink)

The past decades have seen an increase in theories envisioning multi-cultural encounters and analyzing the hidden and obvious power dynamics that govern them. This essay suggests an innovative approach to assess and negotiate these theories. It introduces a metapsychology, illustrated by original pictures and poems, to examine multi- cultural engagement, to negotiate the major representatives among the leading theoretical responses to diversity and globalism, to develop a heuristic model that interprets each theory in their own right, and to envision (...) innovative strategies that enable co-existence across boundaries, imagined and historically sedimented. Finally, it proposes a brand new theoretical approach to the study of both cultures and theories. (shrink)

Summary Gessner's sources for the pictures in his Historia animalium were varied in kind and in quality. This should be understood within the larger context of the Historia animalium in which Gessner sought to collect everything ever written about animals, an enterprise that could not be completed by a single individual. Just as Gessner did not distil or reduce similar texts but retained these as well as contradictory or false textual descriptions as part of a repository of knowledge, so (...) also Gessner included several pictures of the same animal, false or badly drawn ones, and juxtaposed erroneous and ?true? images. The attribution of images to witnesses and correspondences also reflects Gessner's strategy to credit those who drew his attention to new information first. The sources of Gessner's images thus indicate how his visual world encompassed more than the strictly self-observable, and a pictorial practice that was intimately connected with textual traditions and intellectual networks. (shrink)

In its discussion of Gil Courtemanche’s Un dimanche à la piscine à Kigali and Alfredo Jaar’s installation of “Real Pictures,” both of which are representations of the Rwandan Genocide, this analysis contributes to a larger discussion on ethical representations of violence. Generally the discussion of the ethics of representation analyzes the ways in which the author or artist portrays the violent events. It focuses on the importance of the historical and political context when describing the events, as well as (...) on the ways in which the author or artist avoids the potential objectifying or dehumanizing effects of representations on the victims, as well as, the perpetrators. This article highlights another important element to be considered in the study of ethical representations- that of how the reader is engaged in the representation and as a result may or may not contribute to stereotypes, objectification, and other negative consequences possible when representing violence. Those who represent violence must not only consider ethical implications with their own interactions with the event and text or image, but also how they encourage their audience to interact with them. (shrink)

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part (...) sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. (shrink)