Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...) serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, (...) literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 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)

Introduction -- Newton's laws of motion versus nature's -- The continuity conundrum -- Continuity and linearity : confusion twice confounded -- From illusions of precision and reproducibility in natural science to delusions of normalcy in social science -- Mutability -- Laws of motion : natural law and questions of mutability -- Essential and intangible role of temporal factors : a detailed example -- Detaching Canada's East Coast Fishery from its history : causes and consequences -- Mishandling temporal factors (...) : a problem of method -- Social science and the problem of linearised time -- The dialectic of nature and its usefulness for the social sciences -- Placing Tlinear on life support -- Merchant's capital : key historic intangible of the East Coast Fishery -- The 800-pound gorilla. (shrink)

Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Jacques Rancière shows how the break with the hierarchical conception of time implies a completely different idea of the modern. He sees the (...) fulfilment of this in two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, and exposed the rift between the revolution of artists and that of strategists. (shrink)

The concept of time is examined using the second law of thermodynamics that was recently formulated as an equation of motion. According to the statistical notion of increasing entropy, flows of energy diminish differences between energy densities that form space. The flow of energy is identified with the flow of time. The non-Euclidean energy landscape, i.e. the curved space–time, is in evolution when energy is flowing down along gradients and levelling the density differences. The flows along (...) the steepest descents, i.e. geodesics are obtained from the principle of least action for mechanics, electrodynamics and quantum mechanics. The arrow of time, associated with the expansion of the Universe, identifies with grand dispersal of energy when high-energy densities transform by various mechanisms to lower densities in energy and eventually to ever-diluting electromagnetic radiation. Likewise, time in a quantum system takes an increment forwards in the detection-associated dissipative transformation when the stationary-state system begins to evolve pictured as the wave function collapse. The energy dispersal is understood to underlie causality so that an energy gradient is a cause and the resulting energy flow is an effect. The account on causality by the concepts of physics does not imply determinism; on the contrary, evolution of space–time as a causal chain of events is non-deterministic. (shrink)

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time and (...) space for a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

Previous research has demonstrated that duration of implied motion (IM) was dilated, whereas hMT+ activity related to perceptual processes on IM stimuli could be modulated by their motion coherence. Based on these findings, the present study aimed to examine whether subjective time perception of IM stimuli would be influenced by varying coherence levels. A temporal bisection task was used to measure the subjective experience of time, in which photographic stimuli showing a human moving in four directions (...) (left, right, toward, or away from the viewer) were presented as probe stimuli. The varying coherence of these IM stimuli was manipulated by changing the percentage of pictures implying movement in one direction. Participants were required to judge whether the duration of probe stimulus was more similar to the long or short pre-presented standard duration. As predicted, the point of subjective equality was significantly modulated by the varying coherence of the IM stimuli, but not for no-IM stimuli. This finding suggests that coherence level might be a key mediating factor for perceived duration of IM images, and top-down perceptual stream from inferred motion could influence subjective experience of time perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Rethinking “philosophy” to-day, it is necessary to think first of all about ontological foundations of the modern scientific universe description and rethink them on the ground of modern scientific knowledge, because until now there is no any precise scientific conception of the structure of the universe, of reasons and movingforces of its permanent evolution. All of it create basis to propose various unscientific ideas of creationism. Until now most of philosophers associate the motion of Matter on the whole only (...) with its motion in space and in time, mixing philosophical and physical aspects of these two principle categories. Generally speaking, the present-day ontological model of understanding the World, the Universe is constructed purely on the basis of only these two fundamental categories. However, a more deep reflection of the essence of Being, if to realize it on the basis of only these two global categories, brings us to the disappointing conclusion, that in this case we have nothing more except a mechanical motion, i.e. spatial displacement of a material point (or a system of points) relatively some point of counting off. To make it normal and logic we should add to the ontological model one more essential part – the motion in quality. So, in order to create the full and complete picture of the formation and evolution of the material World it is necessary to observe the motion of material forming in the three equivalentphilosophical categories: in space time quality. The ideas of the new conception of ontological model become actual supplementation of really scientific philosophical knowledge on the way of a more objective ontological comprehension of our Being, of the law of development of the human civilization and the Universe as a whole. This knowledge can be successfully used for the description of the realistic paradigm of Being, in explanations of the meaning of Life. (shrink)

Drawing on Moreno's cognitive-affective theory of learning with media, this research aims to investigate the effectiveness of different multimedia glosses on learners' vocabulary acquisition and reading comprehension in a CALL environment. A total of 160 university students who learnt English as a foreign language in four classes participated in the study and were exposed to one of the four conditions: L2 definition only, L2 definition coupled with audio, L2 definition plus video, and L2 definition with picture. Participants were asked to (...) read eight hypermediated reading texts. Reading comprehension as well as vocabulary acquisition were measured using a pretest–posttest design. The results show first that all these four conditions led to students' vocabulary gains. More specifically, participants who had access to L2 definition plus picture and plus videos achieved significantly higher scores than the other two groups, L2 definition coupled with audio and L2 definition only. Concerning reading comprehension, all multimedia glossing presentation led to better reading comprehension, but no differences were found among all the glossing groups. The questionnaire and interview data indicate that students preferred L2 definition coupled with video and picture glosses, followed by audio and L2 definition only. The results reflect that multimedia glossing presentation creates a different effect on students' vocabulary acquisition and reading comprehension, respectively. They also provide pedagogical implications for learning in times of COVID-19. (shrink)

Time Tells is a grand study of time, technology, performance, the attention economy, and comedy. Using the cinematic time-jump, "a numerical shorthand for a fated intermission," to weave a narrative of chronopolitics, memoir, and cultural study, Masha Tupitsyn constructs a unique literary and visual phenomenology on the loss of time, presence, and attention in the digital age. Structured into two interlocked inquiries--Time and Acting--Time Tells focuses on the internet to talk about the ethics of (...) presence and attention, comedy to talk about timing and the language of critique, and lying masculinity, the double, and acting to talk about performance and the reign of falsehood. Both volumes intersect to examine our inability to experience coherence and integration in the post-truth era. In the first volume, Time, Tupitsyn covers wide-ranging cultural touchstones such as the '90s TV show Felicity, Hitchcock's Vertigo, Luca Guadagnino's Call Me by Your Name, Joan Didion's The Year of Magical Thinking, Pretty Woman, Wong Kar-wai's 2046, David Fincher's Zodiac, Jean-Luc Godard, the Beastie Boys, Wim Wenders, the art of style, memory and music in the post-internet age, and the lost ontology of cinema. Using what Tupitsyn terms "screen-shot criticism," Time Tells makes innovative critical thinking accessible to anyone interested in American culture today. (shrink)

The impetus theory of motion states that to be in motion is to have a non-zero velocity. The at-at theory of motion states that to be in motion is to be at different places at different times, which in classical physics is naturally understood as the reduction of velocities to position developments. I first defend the at-at theory against the criticism raised by Arntzenius that it renders determinism impossible. I then develop a novel impetus theory of (...) motion that reduces positions to velocity developments. As this impetus theory of motion is by construction a mirror image of the at-at theory of motion, I claim that the two theories of motion are in fact epistemically on par—despite the unfamiliar metaphysical picture of the world furnished by the impetus version. (shrink)

From the 1910s through the 1930s, the American naturalist and photographer Arthur C. Pillsbury made time-lapse and microscopic films documenting what he, in common parlance, called the “miracles of plant life”. While these films are now mostly lost, they were part of Pillsbury’s prolific work as a conservationist and traveling film lecturer who used his cameras everywhere from Yosemite National Park to Samoa to promote both public understanding of plants and a desire to protect the natural world. Guiding this (...) work was Pillsbury’s belief that the nonhuman optics of the film camera, which revealed the animacy of plants, could also incite viewers to sympathize with them. In the context of the early American conservation movement, that sympathy stemmed in complicated ways from longstanding transcendental and pastoral ideas of nature that were entangled with imperialist visions of controlling nature. With an eye to that context, I show that Pillsbury’s filmmaking was not simply about using motion picture technologies to shape attitudes toward plants and nature more broadly; it was also about using nature to think through the techno-scientific possibilities of the cinema in the early part of the twentieth century. (shrink)

Walter Burley is mostly known for his defense of realism against William of Ockham. The concept of time that he developed in his late literal commentary on Aristotle's Physics has even been labelled 'extremely realistic,' in contrast to William of Ockham's so-called 'extremely subjectivistic' alternative. However, as is shown in this article, when Burley's concept of time is viewed against the background of medieval theories of time, it appears that it is mainly a restatement and further elaboration (...) of opinions held by Averroes. A detailed investigation of Burley's explanation of the reality, definition, and unicity of time, as well as of the relation between time and the intellective soul shows that his realism is certainly far less extreme than it has been believed. (shrink)

The article is devoted to the problem of time in modern science, where in recent years there have been major changes related to the latest discoveries in the field of the foundations of quantum theory. The author refers to works of K.-F. von Weizsacker (which works are not well-known in Russian-speaking field). Weizsacker deploys a large-scale program of building modern physics, while starting (not only as a physicist, but also a professional philosopher) with questions of philosophical interpretation of postulates (...) of modern physics, especially quantum mechanics. His key thesis is that time in physics is fundamentally distinct, which represents the whole physics as an integral scientific discipline. Weizsacker comes from physical and philosophical reflections, that give a special value to his work. Analyzing the conclusions of theoretical physics, namely the issues of substantiation of statistical mechanics, thermodynamics, and, above all, quantum mechanics, Weizsacker comes to the key idea of the structure of time in the substantiation of physical theory. The author in this conclusion disagrees with the opinion of most modern physicists that time has a subjective character, and the modus of the past, present and future reflects its essential character. The allocation of the time structure requires special logic. Such a logic is temporal and quantum. Starting from temporal logic, introducing the concept of possibility and probability, he comes to the substantiation of quantum mechanics. Being modal logic, it is based on the concept of possibility and probability. Key concept for Weizsacker is a binary alternative (Uralternative), closely related to the principle of superposition in quantum mechanics. By introducing the concept of certain alternatives, essentially actualized alternatives, Weizsacker shows how one can get the theory of relativity with its space-time structure. Further, he shows that based on its structure, you can get the theory of relativity. The space-time structure in this case is secondary, relational, as understood by Leibniz, Mach, and Einstein. (shrink)

The Dimensions of Difference examines space, time, and bodies in the works of three contemporary women directors and four continental philosophers, leading to a new approach to the question of sexual difference and its place within film criticism.

For centuries, philosophers of time have produced texts containing words and pictures. Although some historians study visual representations of time, I have not found any history of philosophy on pictures of time within texts. This paper argues that studying such pictures can be rewarding. I will make this case by studying pictures of time in the works of Leibniz, Arthur Eddington and C. D. Broad, and argue they play subtle roles. Further, I (...) will argue that historians of philosophy more widely could benefit from paying more attention to pictures. (shrink)

Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...

It is argued that time's arrow is present in all equations of motion. But it is absent in the point particle approximations commonly made. In particular, the Lorentz-Abraham-Dirac equation is time-reversal invariant only because it approximates the charged particle by a point. But since classical electrodynamics is valid only for finite size particles, the equations of motion for particles of finite size must be considered. Those equations are indeed found to lack time-reversal invariance, thus ensuring (...) an arrow of time. Similarly, more careful considerations of the equations of motion for gravitational interactions also show an arrow of time. The existence of arrows of time in quantum dynamics is also emphasized. (shrink)

For centuries, philosophers of time have produced texts containing words and pictures. Although some historians study visual representations of time, I have not found any history of philosophy on pictures of time within texts. This paper argues that studying such pictures can be rewarding. I will make this case by studying pictures of time in the works of Leibniz, Arthur Eddington and C. D. Broad, and argue they play subtle roles. Further, I (...) will argue that historians of philosophy more widely could benefit from paying more attention to pictures. (shrink)

Appropriate for both academic readers and informed general enthusiasts of the cinema it addresses, the book demonstrates both philosophy's particular usefulness for the analysis of modernist cinema and film form's inherent potential for ...

Throughout a career spanning half a century, Stan Brakhage--the foremost experimental filmmaker in America, and perhaps the world--wrote controversial essays on the art of film and its intersections with poetry, music, dance, and painting. Published in small circulation literary and arts journals, they were gathered later into such books as Metaphors on Vision and Film at Wit's End. Beginning in 1989, and for a decade thereafter, Brakhage wrote the essays in Telling Time as an occasional column for Musicworks, a (...) Toronto quarterly. Ostensibly about the relation of film to music, they soon enlarged to explore primary concerns beyond film, including Brakhage's aesthetic theories based on the phenomenology of human cognition. In these essays he is as brilliant discussing Gertrude Stein or romantic love as he is on child psychology, astronomy, and physiology, all the while teasing out vital correspondences between the arts, and upending conventional ideas of how we perceive. His investigations of other artists are models of sympathetic intuition and generosity. Above all, he shares his theories, discoveries and understandings in the spirit of establishing a groundwork for many varieties of human liberation. His prose is filled with flashes of insight, elaborated metaphors, playful elisions, shorthand puns and neologisms, personal digressions, surprising epiphanies, leaps of faith, affronts to authority. He appeals to the imagination, and invites us to a more profound and personal experience of art. (shrink)

Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...) pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.Keywords: Norbert Elias; Marcel Mauss; Joseph Roth; Cinema; Gestures; Body; Discourse; Historiography; Sociology of culture. (shrink)

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...) of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality, however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. In close readings of Michelangelo Antonioni’s L’Avventura, Andrei Tarkovsky’s Mirror, and the ten short films that make up Krzysztof Kielowski’s Decalogue (...) series, Mroz highlights how film analysis must consider both particular moments in cinema which are critically significant, and the way in which such moments interrelate in temporal flux. She explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh perspective to film analysis and criticism. Essential reading for students and scholars in Film Studies, this engaging study will also be a valuable resource for critical theorists. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Focusing on a recent wave of international art cinema, Animal Worldsoffers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire(2010), The Turin Horse(2011) and A Cow's Life(2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others (...) - the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures. (shrink)

The Sexual Politics of Time will be of interest tostudents and researchers of time, memory, difference and cultural change, in subjects such as Media and ...

This paper reconstructs the relationship between the now, motion, and number in Aristotle to clarify the nature of the now, and, thereby, the relationship between motion and time. Although it is clear that for Aristotle motion, and, more generally, change, are prior to time, the nature of this priority is not clear. But if time is the number of motion, then the priority of motion can be grasped by examining his theory of (...) number. This paper aims to show that, just as numbers are generated by the soul, time is not presupposed by motion, but emerges through the soul’s articulation of motion. Time is co-constituted by the soul and motion. The now is the key to understanding both the contribution of motion and soul to the being of time. The now is part of the soul’s articulation of motion, and sets the stage for an act that distinguishes a unit from its underlying motion. The now, then, sets up an abstraction by which the soul generates the temporal number from motion. Reconstructing this account of abstraction allows us to formulate more strongly Aristotle’s claim to the ontological dependence of time on motion. The paper then gives a systematic overview of the relationships between the now and number in order to address the question of whether the now might be extended. It closes with an examination of the possibility that motion depends on time, and how universal time is possible. (shrink)

Although Gilles Deleuze is one of France’s most celebrated twentieth-century philosophers, his theories of cinema have largely been ignored by American scholars. Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinema—_The Movement-Image _and _The Time-Image_—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories (...) to his influential philosophy of difference. Rodowick illuminates the connections between Deleuze’s writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze’s other books—including his influential work with Félix Guattari—Rodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy. (shrink)

Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...) variability within a language can be explained by specific properties of the events. This event-properties account predicts that descriptions of one and the same event should be consistent within a language, even in languages where there is overall variability in the use of syntactic frames. Spanish and Swedish speakers (N= 84) described 32 caused motion events. While the most frequent syntactic framing in each language was as expected based on typology (Spanish: verb-framed, Swedish: satellite-framed, cf. Talmy,2000), Swedish descriptions were substantially more consistent than Spanish descriptions. Swedish speakers almost invariably encoded all events with a single syntactic frame and systematically conveyed manner of motion. Spanish descriptions, in contrast, varied much more regarding syntactic framing and expression of manner. Crucially, variability in Spanish descriptions was not mainly a function of differences between events, as predicted by the event-properties account. Rather, Spanish variability in syntactic framing was driven by speaker biases. A similar picture arose for whether Spanish descriptions expressed manner information or not: Even after accounting for the effect of syntactic choice, a large portion of the variance in Spanish manner encoding remained attributable to differences among speakers. The results show that consistency in motion event encoding starkly differs across languages: Some languages (like Swedish) bias their speakers toward a particular linguistic event schema much more than others (like Spanish). Implications of these findings are discussed with respect to the typology of event framing, theories on the relationship between language and thought, and speech planning. In addition, the tools employed here to quantify variability can be applied to other domains of language. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? This (...) book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...) of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

This book explores the shared experiential ground of cinema, art, and architecture. Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.

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)

The disciplinary enterprises engaged in the study of consciousness now extend beyond their original paradigms providing additional knowledge toward an overall understanding of the fundamental meaning and scope of consciousness. A new transdisciplinary domain has resulted from the syncretism of several approaches bringing about a new paradigm. The background for this overarching enterprise draws from a variety of traditions. In this paper however elaboration is restricted to the quantum-mechanical account in David Bohm’s theoretical work in relation to his ideas about (...) “active information”, “protointelligence”, and “non-locality”. This leads to an adapted version of Bohm’s thesis concerning the implicate order and explicate order of the Universe - the Impression Order and the Expression Order, respectively. On this view, the Universe is formed on an actual-material level, the apparent properties of things, and a potential-material level, a constant process of becoming that exerts an attractive force on the present. The central thesis emerges from a radical reformulation of certain core concepts that transforms many ontological assumptions about the material basis of consciousness. That is, the above platform inclusively connects to a hypothesis that the concepts of ‘space’, ‘time’, ‘event’, and ‘motion’ can be unified to capture the notion of simultaneous activity at reducing levels to the Impression order. This notion coheres with a physical-theoretical model of Signature-Energy-Frequency which has been well demonstrated in the atomic, chemical, and information fields. This study embraces a holistic and creative worldview based on a triadic model wherein consciousness itself is postulated as the most basic, primordial stratum. Importantly, both orders are constantly conjoined since the Impression Order exists as potential energy of the quantum vacuum. The physical realm is formed by the proposed Triangulate-Three conditions as a principle of animation and ‘being’: Consciousness, Body-of-Experience and Intellect-Reflective in the Expression Order, one aspect of which emerge as lifelike properties. This Triangulate-Three principle inheres in every particle and organism to which it guides its development, adaptation, and survival. The conscious being thus possesses all three conditions in Expression Order through STEM-interactions via SEF transmissions, as a self-organising organism. (shrink)

Introduction : time, film, and the ethical vision of Emmanuel Levinas. American transcendence : Levinas and a short history of an American idea in film -- Frank Capra and James Stewart : time, transcendence, and the other -- The changing face of American redemption : Henry Fonda, Marilyn Monroe, Paul Newman, and Denzel Washington -- Sex, art, and Oedipus : The unbearable lightness of being -- Fellini and La dolce vita : documentary, decadence, and desire -- Antonioni and (...) L'avventura : transcendence, the body, and the feminine. (shrink)

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...) viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

In the two feature articles for this volume, Gruber et al and Buonomano & Rovelli focus on what the former call the 'two-times problem', in short, the apparent lack of fit between time as described by physical science and our own temporal experience, where 'experience' involves things like memory, anticipation, and perception of change and motion. In this short note I'll make the case that the twotimes problem is less serious than it is often made out to be (...) in the specific case of features like 'passage ' and 'presentness' that are central to the 'A-theory' of time ---the theory that holds time to be composed of dynamic regions of 'past', 'present' and future', and for time to genuinely flow or pass.My contention is three-fold: (1) the two-times problem is better understood as a three-times problem: rather than a conflict between 'physical' and 'manifest' time, what we have in the case of time is differences between the time of physics, the time of experience, and the 'folk' concept of time. (2) Understanding the problem in this way helps deflate certain problems about the relationship of these three pictures; the time of experience and the time of physics are less obviously in a problematic conflict than often supposed; and the folk concept of time is what brings in problematic features of time hard to fit with either the time of physics of experience. (3) Understanding the time of experience as independent from the folk concept of time better fits the actual aims of the... (shrink)

The content of this paper is primarily the product of an attempt to understand consciousness by working through the Gestell - conventionalised epistemology, at least some of several foundational concepts. This paper indirectly addresses the ancient question: “How is objective reference – or intentionality, possible? How is it possible for one thing to direct its thoughts upon another thing?” As such, I have adopted a holistic methodology; one in which I develop a framework based on a form of process philosophy (...) and descriptive emergentism. Many of the problems associated within the philosophy of mind arise because of a failure to understand the interrelations among the concepts we employ when we talk about consciousness and perception. These concepts are generally associated with certain structural features of reality. Hence, the paper advances through a series of attempts at defining the concept of time, moving through to some of the central figures, their thoughts and arguments and problems associated within the philosophy of time. Given the intertwined nature of the associated concepts, I have expanded on these to a level of conceptual integration. (shrink)

Aiming at the problem that it is difficult to balance the speed and accuracy of human behaviour recognition, this paper proposes a method of motion recognition based on random projection. Firstly, the optical flow picture and Red, Green, Blue picture obtained by the Lucas-Kanade algorithm are used. Secondly, the data of optical flow pictures and RGB pictures are compressed based on a random projection matrix of compressed sensing, which effectively reduces power consumption. At the same time, (...) based on random projection compression data, it can effectively find the optimal linear representation to reconstruct training samples and test samples. Thirdly, a multichannel 3D convolutional neural network is proposed, and the multiple information extracted by the network is fused to form an output recognizer. Experimental results show that the algorithm in this paper significantly improves the recognition rate of multicategory actions and effectively reduces the computational complexity and running time of the recognition algorithm. (shrink)