: In the following extract, Mondzain examines the way in which the spiritual hegemony of the Early Christian and Byzantine church was transformed into political power. The primary tool used in this endeavor was the icon. The representation of the holy figures of Christianity as space-occupying physical beings puts into play a series of spatial operations which aided in the exercise of temporal, imperial authority.

In the following extract, Mondzain examines the way in which the spiritual hegemony of the Early Christian and Byzantine church was transformed into political power. The primary tool used in this endeavor was the icon. The representation of the holy figures of Christianity as space-occupying physical beings puts into play a series of spatial operations which aided in the exercise of temporal, imperial authority.

In the following extract, Mondzain examines the way in which the spiritual hegemony of the Early Christian and Byzantine church was transformed into political power. The primary tool used in this endeavor was the icon. The representation of the holy figures of Christianity as space-occupying physical beings puts into play a series of spatial operations which aided in the exercise of temporal, imperial authority.

In the following extract, Mondzain examines the way in which the spiritual hegemony of the Early Christian and Byzantine church was transformed into political power. The primary tool used in this endeavor was the icon. The representation of the holy figures of Christianity as space-occupying physical beings puts into play a series of spatial operations which aided in the exercise of temporal, imperial authority.

: This introduction highlights two of Mondzain's contributions in the chapter reproduced here, "Iconic Space and the Rule of Lands." The first is her discussion of a link between images and power, which stresses the formal characteristics of paintings rather than their narratives. The second is her examination of the specific task which representation is called on to perform in religious as opposed to secular contexts, where spiritual, otherworldly figures are given physical shape and form.

This introduction highlights two of Mondzain's contributions in the chapter reproduced here, "Iconic Space and the Rule of Lands." The first is her discussion of a link between images and power, which stresses the formal characteristics of paintings rather than their narratives. The second is her examination of the specific task which representation is called on to perform in religious as opposed to secular contexts, where spiritual, otherworldly figures are given physical shape and form.

This introduction highlights two of Mondzain's contributions in the chapter reproduced here, “Iconic Space and the Rule of Lands.” The first is her discussion of a link between images and power, which stresses the formal characteristics of paintings rather than their narratives. The second is her examination of the specific task which representation is called on to perform in religious as opposed to secular contexts, where spiritual, otherworldly figures are given physical shape and form.

The idea that the form of a word reflects information about its meaning has its roots in Platonic philosophy, and has been experimentally investigated for concrete, sensory-based properties since the early 20th century. Here, we provide evidence for an abstract property of ‘boundedness’ that introduces a systematic, iconic bias on the phonological expectations of a novel lexicon. We show that this abstract property is general across events and objects. In Experiment 1, we show that subjects are systematically more likely (...) to associate sign language signs that end with a gestural boundary with telic verbs (denoting events with temporal boundaries, e.g., die, arrive) and with count nouns (denoting objects with spatial boundaries, e.g., ball, coin). In Experiments 2–3, we show that this iconic mapping acts on conceptual representations, not on grammatical features. Specifically, the mapping does not carry over to psychological nouns (e.g. people are not more likely to associate a gestural boundary with idea than with knowledge). Although these psychological nouns are still syntactically encoded as either count or mass, they do not denote objects that are conceived of as having spatial boundaries. The mapping bias thus breaks down. Experiments 4–5 replicate these findings with a new set of stimuli. Finally, in Experiments 6–11, we explore possible extensions to a similar bias for spoken language stimuli, with mixed results. Generally, the results here suggest that ‘boundedness’ of words' referents (in space or time) has a powerful effect on intuitions regarding the form that the words should take. (shrink)

With the advancement of digital technology in contemporary art, new hybrid forms of interaction emerge that invite viewers to make images present in physical space as events that claim a life of their own. In breaking away from representational and performance art theories that have dominated the critique of new media artwork since the 1980s, this article analyses an iconic vision of mobile touchscreens based on the medieval Byzantine chorographic inscription of the sacred in profane spaces. As defined (...) in recent art historical studies on Byzantine icons, chorography builds on a multisensory spatial interaction between the beholders of icons that results in feeling the presence of a divine, invisible image. In light of postmodern critique of digital images’ capacity to manipulate notions of reality, new media aesthetic theory hardly addresses this Byzantine iconic vision that is fundamental to western visual culture. Jeffrey Shaw’s installation, The Golden Calf, is discussed to offer an alternative in understanding how digital and physical spaces function together to evoke something essentially real. (shrink)

We argue that some sign language loci (i.e. positions in signing space that realize discourse referents) are both formal variables and simplified representations of what they denote; in other words, they are simultaneously logical symbols and pictorial representations. We develop a 'formal semantics with iconicity' that accounts for their dual life; the key idea ('formal iconicity') is that some geometric properties of signs must be preserved by the interpretation function. We analyze in these terms three kinds of iconic (...) effects in American and French Sign Language (ASL and LSF): (i) structural iconicity, where relations of inclusion and complementation among loci are directly reflected in their denotations; (ii) locus-external iconicity, where the high or low position of a locus in signing space has a direct semantic reflex, akin to the semantic contribution of gender features of pronouns; and (iii) locus-internal iconicity, where different parts of a structured locus are targeted by different directional verbs, as was argued by Liddell and Kegl. The resulting semantics combines insights of two traditions that have been sharply divided by recent debates. In line with the 'formalist camp' (e.g. Lillo-Martin and Klima, Neidle, and Sandler and Lillo-Martin), our theory treats loci as variables, and develops an explicit formal analysis of their behavior. But we also incorporate insights of the 'iconic camp', which emphasized the role of iconic constraints in sign language in general and in pronominals in particular (e.g. Cuxac, Taub, Liddell). However, this synthesis is only possible if formal semantics makes provisions for iconic requirements at the very core of its interpretive procedure. (An Appendix discusses relevant data from Italian Sign Language [LIS].). (shrink)

Investigations of iconicity in language, whereby interactants coordinate meaningful bodily actions to create resemblances, are prevalent across the human communication sciences. However, when it comes to analysing and comparing iconicity across different interactions and modes of communication, it is not always clear we are looking at the same thing. For example, tokens of spoken ideophones and manual depicting actions may both be analysed as iconic forms. Yet spoken ideophones may signal depictive and descriptive qualities via speech, while manual actions (...) may signal depictive, descriptive, and indexical qualities via the shape, movement, and placement of the hands in space. Furthermore, each may co-occur with other semiotics articulated with the face, hands, and body within composite utterances. The paradigm of iconicity as a single property is too broad and coarse for comparative semiotics, as important details necessary for understanding the range of human communicative potentialities may be masked. Here, we draw on semiotic approaches to language and communication, including the model of language as signalled via describing, indicating and/or depicting and the notion of non-referential indexicality, to illustrate the multidimensionality of iconicity in co-present interactions. This builds on our earlier proposal for analysing how different methods of semiotic signalling are combined in multimodal language use. We discuss some implications for the language and communication sciences and explain how this approach may inform a theory of biosemiotics. (shrink)

ASL can express plurals by repeating a noun, in an unpunctuated fashion, in different parts of signing space. We argue that this construction may come with a rich iconic component: the geometric arrangement of the repetitions provides information about the arrangement of the denoted plurality; in addition, the number and speed of the repetitions provide information about the size of the denoted plurality. Interestingly, the shape of the repetitions may introduce a new singular discourse referent when a vertex (...) can be inferred to denote a singular object. Thus one may point towards the first or last iteration of a horizontal repetition of BOOK to denote the left- or right-edge of the corresponding row. This yields a remarkable interaction between iconic semantics and standard logical semantics. We show that our analysis extends to ‘punctuated’ repetitions, which involve clearly individuated iterations of a singular noun. While these may initially look like coordinated indefinites, they are better handled by the same iconic framework as plural, unpunctuated repetitions. Some repetition-based mass terms also give rise to iconic effects, and to different readings depending on whether the repetition is continuous, unpunctuated, or punctuated. Our analysis highlights the need for a formal semantics with iconicity to study the integration of such iconic and logical conditions. It also raises a question: can similar facts be found in spoken language when gestures are taken into account? We suggest that several effects can be replicated, especially when one considers examples involving ‘pro-speech gestures’. (shrink)

This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked (...) the act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic repre­sentation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself. (shrink)

This article explores the theoretical and substantive connections between iconicity and consumerism in the field of contemporary iconic architecture within the framework of a critical theory of globalization. Iconicity in architecture is defined in terms of fame and special symbolic/aesthetic significance as applied to buildings, spaces and in some cases architects themselves. Iconic architecture is conceptualized as a hegemonic project of the transnational capitalist class. In the global era, I argue, iconic architecture strives to turn more or (...) less all public space into consumerist space, not only in the obvious case of shopping malls but more generally in all cultural spaces, notably museums and sports complexes. The inspiration that iconic architecture has provided historically generally coexisted with repressive political and economic systems, and for change to happen an alternative form of non-capitalist globalization is necessary. Under such conditions truly inspiring iconic architecture, including existing architectural icons, may create genuinely democratic public spaces in which the culture-ideology of consumerism fades away. In this way, a built environment in which the full array of human talents can flourish may begin to emerge. (shrink)

When one tries to determine what the iconic dimension of thought consists in for Peirce and what its range is, one might have the impression that his remarks on this matter are inconsistent. For instance, on the one hand he writes the following: Remember it is by icons only that we really reason, and abstract statements are valueless in reasoning except so far as they aid us to construct diagrams. The sectaries of the opinion I am combating seem, on (...) the contrary, to suppose that reasoning is performed with abstract "judgments," and that an icon is of use only as enabling me to frame abstract statements as premisses. In an apparently similar fashion, Peirce argues that the predicate of a... (shrink)

Since at least the late nineteenth century, a world-level moral culture has developed, providing a space for certain persons to be presented as global moral icons. This global moral space was already pointed to by Kant as an emergent form, and was later theorized by Durkheim. This article shows that an important institutionalization of global moral culture involved the founding of the Nobel Prizes, the subsequent mutations of which were also important in the constitution of that culture. These, (...) and other awards which imitated them, are performative in a profound sense: they simultaneously reflect and help bring into being a planet-spanning culture which demands moral icons which both exemplify and partly constitute it. How the Nobel Prizes and their imitators work to create moral iconicity that is globally relevant is explored. The case of Gandhi is taken as an example of how, despite not being awarded a Nobel Prize, some moral icons are also brought into being through symbolic contact with other such icons, including Nobel Prize winners. The article considers the lingering, powerful, but generally invisible, influence today on world moral culture of the innovations pursued by the early Nobel Prize committees. (shrink)

Introduction -- The historical foundations of Russian and Japanese philosophies -- Space in NOH : plays and icons -- Models of cultural space derived from Nishida Kitar and Semën L. Frank (Basho and Sobornost) -- Space and aesthetics : a dialogue between Nishida Kitar and Mikhail Bakhtin -- From community to time, space, development : Trubetzkoy, Nishida, Watsuji -- Conclusion -- Postface: Resistance and slave nations.

In this paper Section 1 distinguishes between two modes of interpreting legal rules: rehearsal and discourse, arguing that the former takes priority over the latter in law, as in many other contexts. Section 2 offers two arguments that following a legal rule in the rehearsing mode presents a riddle. The first argument develops from law, and submits that legal rules do not tell us anything, because they are tautological. The second one develops from philosophy (Wittgenstein's later works), confronting us with (...) the paradox that incompatible courses of action may be derived from any rule. My solution presents a theory of rules as icons (Section 3). I use “icon” rather than “picture,” partly to avoid confusion with what is known among philosophers as “the picture theory of meaning.” Interpretation in the rehearsing mode hinges on imagination: imagining oneself in the space of reasons for action rather than reasoning oneself. In this act of imagination, we project ourselves into the rule in ways that are similar to the way we grasp the sense of paintings, music, stories, or poems. Finally (Section 4) I will defend the position that my view solves the puzzles in the second section, by arguing (a) that it is a better account of what Wittgenstein wrote than two competing theories (intuitionism and conventionalism), and (b) that it provides a more satisfactory account of how lawyers deal with legal rules in actual practice. (shrink)

Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with (...) individual anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered. (shrink)

Property is a complex sign in semiotics. It is also the source of tension and conflict in law. This paper examines property in triadic terms consisting of what Charles S. Peirce would identify as the icon (firstness), the index (secondness), and the symbol (thirdness). From this perspective the paper explores the ideas of place, space, and time at the iconic level of the sign of property. Discussion addresses the way in which property serves as a coded system for (...) communicating information about a given community’s values and its cultural-interpretive hierarchy. Much like an aboriginal songline, property functions as a way of imprinting the land with impressions of social ordering related to place, space, and time. In the context of global trade we therefore observe property conflicts which are sometimes not so much about the technical language of property as they are about tensions among the embedded values in competing signs of property. (shrink)

What sort of image does the planet Earth possess at the opening of the 21st century? If in the 1960s, the Whole Earth, the planet as seen from space, became a cold war, proto-environmentalist icon for a fragile ocean planet, in the 2010s, Google Earth, the globe encountered as a manipulable virtual object on our computer screens, has become an index for multiple and socially various interpretations and interventions; its thicket of satellite images, text legends, and street level photographs (...) can all be tagged, commented upon, modified. In this essay, I examine a kindred image-object, Google Ocean, asking what sort of representation of the planetary sea is in the making in our digital days. Stirring up the century-old classification of signs by semiotician Charles Sanders Peirce, I argue that Google Ocean is a mottled mash of icons, indexes, and symbols of the marine and maritime world as well as a simultaneously dystopian and utopian diagram of the sea - though one that floats in a media ecology that tends to occlude its infrastructural history and conditions of possibility. (shrink)

This article explores one of the iconic spaces of the Western Front of the Great War: ‘No Man’s Land.’ It offers an explanation of why one of the most extraordinary events of the First World War, the Christmas Truce of 1914, was only possible in that space. The paper suggests that the subversive nature of the truce required undermined the legitimacy of the state and thus forced state authorities to suppress further similar occurrences.One of the enduring images of (...) World War I is that of trench warfare, featuring two dug-in-sides firing at each other across a space than spanned anywhere from sixty to two hundred yards. The space that was fired across, dubbed ‘No Man’s Land,’ became an iconic symbol representing the destructive nature of the Great War. This article explores why one of the most extraordinary events of the First World War was only possible in that space and why the event could never be duplicated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:This essay considers hagiography as a spatial-theological genre emerging, so to speak, from the crypts of Christian martyrs where liturgical celebrations commemorate their paradoxical witness to the Paschal mystery, whereby the faithful gain eternal life through temporal death. Later the virtues and miracles of holy men and women, such as ascetics, bishops, mystics and founders of religious communities, are recounted in vitae intended for liturgical offices and contemplative reflection. (...) The relics of these saints are a site for the construction of religious identity and a locus of pilgrimage, as the faithful gather in the churches where the bodily remains are located. Often miracle accounts, collected soon after the death of the saint, are accompanied by miracles at the tomb thereby initiating or furthering the process of veneration and canonization, whence the relics are subsequently transferred to a prominent place within the church, such as the area near the altar. Miracle stories are a constant in liturgical legends, and the vitae of Saint Francis are no exception.In the case of Francis of Assisi, canonization and construction are contemporaneous, since Thomas of Celano's official legend, the Life of Saint Francis, is presented during the initial building phase of the sepulcher basilica. The Paschal paradox of the miraculous, evident in the spatial localization of transcendent power, informs Celano's hagiographical account of miracles in his first text, as well as in the later Legend for Use in the Choir, the Remembrance of the Desire of the Soul, and the Treatise on Miracles. Bonaventure's subsequent conceptualization of Francis's dream body in the Journey of the Soul into God and literary reorganization of the miracle stories in the Major Life, and the absence of Francis's reliquary remains in the Minor Life, dislodges the miraculous from sepulchral stone and regional locales into textual space, which is located in a narrative history but freed from the spatial constraints of ecclesial edifices and geographical locations. As a result, the thaumaturgical founder of Celano's narratives, whose wonders in life and death find a spatial locus in Italy and, particularly, at the basilica tomb, is replaced by the stigmatized Francis. He is the central miracle of Bonaventure's narratives, and readily present anywhere – albeit mediated by the General Minister's own memory – in prayer. This essay posits that this "transitus" of Francis from miracle worker to abiding miracle, especially noticeable in Celano's Legend for Use in the Choir and Bonaventure's Minor Life, is best understood when the performative nature of liturgical legends in sacred space is recognized.1. Choir Legends, Sacred Space and Performative IdentityChoir legends are primarily conceived, composed, and received as spatial texts, ritually performed in a designated sacred space and season. Their ritual context is the Liturgy of the Hours, where believers enter into a dialogical exchange with the divine, grounded in the paradox of the Paschal mystery. Choir legends are unique witnesses to a particular communal image of a saint, whose life of virtue and miraculous deeds is recounted within the dynamics of liturgical prayer and the dominant cultic-cultural identity. Given their essential status within worship, these biographical texts assume a level of iconicity not shared by non-liturgical documents. Specifically intended for communal contemplation and not the promulgation of the saint's cult throughout the universal church, choir legends are similar to opaque windows opening inward on a secluded courtyard of those gathered to recount their family story. While the narrative is accessible to all those who gaze through the aperture and listen attentively, the locus of intent is within the religious community. When the community members – or at least influential leaders – no longer espouse this "prayed" likeness of their father or mother figure, a new image may be constructed, and the previous choir legend is supplanted or even suppressed by another legend that reflects the revised cultural-theological identity. Evidence of this process is found among second.. (shrink)

When faith traditions confront postmodern uncertainties regarding historical liturgical practices, political and cultural ideologies, the self and sacred space, the assurance of truth claims, allegorical readings and interpretations of sites where divine presence is found are equally questioned. Can allegorical interpretations offer a valuable strategy in postmodern understandings for identifying how Divine presence is embodied? One possibility is to discover how two Anglican women embody their faith community’s via media and in turn these women may be read as an (...) “open icon.” To provide contrasting views, Orthodox Icons are particularly noted for their allegorical certainties that identify and point with sharp clarification to Tradition and the Church’s sacramental understandings. An allegorical frame “closes” the Orthodox icon. In a postmodern view, allegory “opens” said frame to a vast horizontal landscape that discovers spaces, places, and persons in which the Holy Spirit works mysteriously and unexpectedly. Both Evelyn Underhill and Barbara Brown Taylor writing almost a century apart and each encountering their respective historical reactions to “modernism,” trace the margins of their faith along the Anglican understanding of the via media. In doing so, both suggest the notion of “open” icon—the body itself. (shrink)

Australia and Papua New Guinea share a number of important social, cultural, and historical features, making a sustained comparison between the two especially productive. This situates the ethnography of the two areas within a comparative framework and examines the relationship between indigenous systems of knowledge and place - an issue of growing concern to anthropologists. The essays demonstrate the manner in which regimes of restricted knowledge serve to protect and augment cultural property and the proprietorship over sites and territory; how (...) myths evolve to explain and culturally appropriate important events pertaining to contact between indigenous and Western societies; how graphic designs and other culturally important iconic and iconographic processes provide conduits of cross-cultural appropriation between indigenous and non-indigenous societies in today's multicultural nation states. (shrink)

Two experiments investigated whether motion metaphors for time affected the perception of spatial motion. Participants read sentences either about literal motion through space or metaphorical motion through time written from either the ego‐moving or object‐moving perspective. Each sentence was followed by a cartoon clip. Smiley‐moving clips showed an iconic happy face moving toward a polygon, and shape‐moving clips showed a polygon moving toward a happy face. In Experiment 1, using an explicit judgment task, participants judged smiley‐moving cartoons as (...) related to ego‐moving sentences about space and about time, and shape‐moving cartoons as related to object‐moving sentences. In Experiment 2, participants viewed the same stimuli, but the cartoons were task‐irrelevant. Event‐related brain potentials revealed an early attentional effect of congruity on cartoons following sentences about space, and a later semantic effect on cartoons following sentences about time. Results are most consistent with accounts that posit differences in the processing of novel and conventional metaphors. (shrink)

The article deals with the issue of motherhood as a space for the other in terms of its being a space shared with the other on both the biological level and also in the metaphorical sense of the word, where motherhood means accepting the other into the wider space of the body of a family, of society, and of the whole universe. This opening up of one’s space for the other necessarily implies that the space (...) diminishes. The article explores the theme through the work of two writers, Mother Maria Skobtsova and Hélène Cixous, as both reflect in their lives the idea of motherhood as a space for the other. It puts their voices into conversation from their different discourses. Mother Maria speaks the language of theology and poetry, and the artistic language of icons; Hélène Cixous the language of literary criticism, psychoanalysis, and creative writing. (shrink)

People implicitly associate the “past” and “future” with “front” and “back” in their minds according to their cultural attitudes toward time. As the temporal focus hypothesis proposes, future-oriented people tend to think about time according to the future-in-front mapping, whereas past-oriented people tend to think about time according to the past-in-front mapping. Whereas previous studies have demonstrated that culture exerts an important influence on people's implicit spatializations of time, we focus specifically on religion, a prominent layer of culture, as potential (...) additional influence on space-time mappings. In Experiment 1 and 2, we observed a difference between the two religious groups, with Buddhists being more past-focused and more frequently conceptualizing the past as ahead of them and the future as behind them, and Taoists more future-focused and exhibiting the opposite space-time mapping. In Experiment 3, we administered a religion prime, in which Buddhists were randomly assigned to visualize the picture of the Buddhas of the Past or the Future. Results showed that the pictorial icon of Dipamkara increased participants' tendency to conceptualize the past as in front of them. In contrast, the pictorial icon of Maitreya caused a dramatic increase in the rate of future-in-front responses. In Experiment 4, the causal effect of religion on implicit space-time mappings was replicated in atheists. Taken together, these findings provide converging evidence for the hypothesized causal role of religion for temporal focus in determining space-time mappings. (shrink)

Things are not the same when, even remaining the same, they are placed on the right or on the left, above or below, in front or behind. In the concrete space of our daily experience, in the space of myths and religions, we are not confronted with a neutral, homogeneous, infinite and isotropic spatiality, indifferent to directions. On the contrary, the possibility of a meaningful movement in space, rooted in my own body and in its praxis (as (...) Kant shows in his pre-critical and critical essays devoted to the space regions and to orientation), is assigned to the three main axes (above/below, right/left, front/behind) and their correspondent differences. The same applies for the space of images and pictures. The present issue of “Aisthesis” aims at exploring how the articulations above/below, right/left, front/behind produce a difference – syntactic, semantic, pragmatic and symbolic – in the iconic domain, and at investigating what theoretical models can be employed in order to understand such difference. (shrink)

: In his philosophy of nothingness, Kitar Nishida illuminates the matrix of transformation of the world ‘‘from the Created to the Creating’’ (tsukuru mono kara tsukurareta mono e) through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The ‘‘Space of Transparency’’ (...) put forth by Ufan Lee, the leader of Monoha, is the principal example. This essay investigates Nishida’s notion of shintai and its influence on Lee’s theory of art. (shrink)

ABSTRACT In this article the Irish harp tradition is re-configured as a space consisting of visual and sonic dimensions. The visual dimension of the Irish harp space incorporates the employment of the instrument in contemporary iconography; the sonic dimension includes the employment of the instrument as a metaphor in contemporary literature and songs. By employing Bloch’s concept of surplus and tracing the path of the Irish harp from its earliest employment in Christian iconography, its prominence as an icon (...) of colonial and Ascendancy rule, and finally its utilisation as an utopian tool to inspire members of the Volunteer and United Irish movements in the late eighteenth century, I identify how the accumulation of centuries of utopian surplus resulted in the creation of an utopian icon that had the capacity to inspire a generation of Irish men and women to critique the prevailing social and political order in the eighteenth century. (shrink)

Parental reading to young children is well-established as being positively associated with child cognitive development, particularly their language development. Research indicates that a particular, “intersubjective,” form of using books with children, “Dialogic Book-sharing”, is especially beneficial to infants and pre-school aged children, particularly when using picture books. The work on DBS to date has paid little attention to the theoretical and empirical underpinnings of the approach. Here, we address the question of what processes taking place during DBS confer benefits to (...) child development, and why these processes are beneficial. In a novel integration of evidence, ranging from non-human primate communication through iconic gestures and pointing, archaeological data on Pre-hominid and early human art, to experimental and naturalistic studies of infant attention, cognitive processing, and language, we argue that DBS entails core characteristics that make it a privileged intersubjective space for the promotion of child cognitive and language development. This analysis, together with the findings of DBS intervention studies, provides a powerful intellectual basis for the wide-scale promotion of DBS, especially in disadvantaged populations. (shrink)

This paper aims to increase the reader’s understanding of how the notion of the ‘bobby on the beat’ has been elevated to iconic, if not mythical, status within British policing. In doing so, the article utilises the semiotic idea of myth, as conceptualized by Roland Barthes, to explore how through representations of the ‘bobby on the beat’ police officers have been projected in a more avuncular re-assuring role to a public fearful of crime, which fails to do service to (...) the signifying practices that accompany and embody the visible police patrol. Indeed, police patrol work secures social space for the State and although it does re-assure anxious members of society that their social world is safe and secure, for others, it further illustrates how their social space is fragile and troubled. On another level, the ‘bobby’ narrative has also been harnessed as part of a broader mythologizing of ‘Englishness’ and quintessential British characteristics. (shrink)

“In a coffee shop in a city, which is every coffee shop in every city, on a day which is everyday …”1Even in her incompleteness, iconic singer-songwriter Ani DiFranco makes a poignant point. Her point pertains to the ubiquity of a coffee shop in a city, which is every coffee shop in every city on a day that is everyday. Such is the vitality of these third places that offer relaxing space and time over and above coffee and (...) other related beverages in the global coffee culture.2 Even though most of these spaces are in some capacity social cogs in the widespread profit-making machinery of global capitalism, their aesthetic import and the scope of their sensuous apprehension is far from explored or tapped. Extant... (shrink)

In his philosophy of nothingness, Kitarō Nishida illuminates the matrix of transformation of the world "from the Created to the Creating" (tsukuru mono kara tsukurareta mono e) through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The "Space of Transparency" put (...) forth by Ufan Lee, the leader of Monoha, is the principal example. This essay investigates Nishida's notion of shintai and its influence on Lee's theory of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 221-242 [Access article in PDF] Reigning in the Court of Silence: Women and Rhetorical Space in Postbellum America Nan Johnson [Figures]Nervous, enthusiastic, and talkative women are the foam and sparkle, quiet women the wine of life. The senses ache and grow weary of the perpetual glare and brilliancy of the former, but turn with a sense of security and repose to the mild, (...) mellow glow irradiating the sphere of the latter. We associate all ideas of rest with quiet women. They are soul-divinities reverently guarding their sacred trusts in the Court of Silence. When she speaks, her words are aptly chosen and fitly spoken. She is wise and thoughtful, but loving and meek. "Still waters run deep," but not in the world-applied sense; babbling rills do not wear their channels deep, but streams of calmest flow have hidden depths undreamed of, unsuspected.--Anonymous, "Quiet Women" 461In an article entitled "Quiet Women," which appeared in The Ladies' Repository in 1868, an anonymous author argues that "quiet women are the wine of life." Capturing the deep cultural longing of the postbellum period for the icon of the American woman as angel of the hearth, this portrait deifies the quiet woman and demonizes the other possibilities: the enthusiastic woman, the talkative woman, the brilliant woman, and the babbling woman. The mild and mellow queen of the "Court of Silence" is graceful, calm, and, most important of all, silent. In this characterization, an idealized woman is defined as necessarily rhetorically meek. By worshiping "the quiet woman," influential proponents of public opinion such as The Ladies' Repository reinscribed for a postbellum readership a definition of true womanhood that equated silence with feminine virtue and enthusiastic vocality with its opposite. The argument that the rhetorical conduct of the "wise and thoughtful" woman could be contrasted instructively with the trivial and ultimately inconsequential rhetorical behavior of loud and talkative women is one that was made in so many cultural conversations of the postbellum period that it achieved the power of an ideological trope. 1 [End Page 221]Efforts to regulate women's rhetorical behavior intensified rather than abated in the decades following the Civil War as women pursued education, the right to vote, property rights, and mobility in public life. In conduct literature, a genre that proliferated during the postbellum period, the preferred construction of the "quiet" woman was a mainstay in an ideological agenda that supported the generally held nineteenth-century view that character and the nature of one's rhetoric are mutually revealing. Like other types of self-help materials marketed in the last decades of the century, such as elocution manuals and letter-writing guides, conduct manuals included among their vast tables of contents the matters of how and where one ought to speak. In their coverage of deportment in all areas of life, conduct manuals promised the aspiring middle-class American an education in the home in the culturally valuable skills of public speaking and writing. 2 The collective enterprise of the parlor rhetoric movement and conduct literature in particular was to offer happiness and success to those who would follow certain rules. Enormously popular in the postbellum period and well into the turn of the century, conduct manuals argued a conservative gender agenda that appealed to the middle-class readers of a nation who seemed eager to accept the idea that correct deportment in daily life could help to restore the social calm the postwar nation longed for. Although by the 1880s the American public had well in mind notable examples of women, such as Lucretia Mott, Sojourner Truth, Frances Willard, and Elizabeth Cady Stanton, who had assumed powerful reformist voices in the causes of abolition, temperance, and women's rights, the rhetorical space these women occupied in shaping political and cultural life was viewed as the exception rather than the rule. 3 In spite of the high profile rhetorical careers of a handful of women, or, perhaps, because of them, postbellum America wondered uneasily just how public women's lives... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spatializing Culture: The Ethnography of Space and Place by Setha LowCarlos J. L. BalsasSpatializing Culture: The Ethnography of Space and Placeby setha low London: Routledge, 2017Spatializing Culture: The Ethnography of Space and Place adds clarity to our understanding of the value of ethnographic scholarship in the study of socio-economic, cultural, and developmental transformations. The book is a thorough review of two established conceptual frames of (...) analysis—the social production of space and the social construction of space—coupled with an in-depth discussion of four newer ways to make sense of the world around us: embodied space, language and discourse, emotion and affect, and translocal space. As the world is transformed by a myriad of forces and events occurring simultaneously, its complexity intensifies insurmountably and we require clear and robust concepts, theories, methods, and tools to not only interpret it, but above all to attempt to change it in ways that are more beneficial to our collective co-existence while enabling the flourishing of those most at risk.Readers of Spatializing Culture will find plentiful theoretical constructs, lineages, diverse viewpoints, examples, and overall opportunities for reflecting on how the (built) environment, spaces, and places have been changing mostly due to our behavior. Inspired by Foucault’s take on genealogy, in chapter 2, Setha Low traces the history of space and place according to distinct interpretative schools of thought ranging from philosophical and mathematical, French social theory, geographical, architectural, environmental psychology, to anthropological, and even archeological. Five Venn diagrams are utilized to illustrate the main conceptual relationships between space and place. Most of the book’s in-depth case studies were researched by the author with only a small number investigated and written up by fellow scholars, which Low utilizes in the book with gratitude. The interrelated thematic and distinct geographical scope of the cases is one of the book’s hallmarks. The illustrative case studies come from such faraway places as Latin America (San José, Costa Rica), Asia (Taipei, Taiwan), North America (New York City; Washington, D.C.; Philadelphia, Pennsylvania; and San [End Page 151] Antonio, Texas), Southern Europe (Smederevska Palanka, Serbia), and the Middle East (Beirut, Lebanon; Cairo, Egypt; and Tel Aviv, Israel).Spatializing Culture was first mentioned to me years ago by a former colleague at the University at Albany, SUNY. His ongoing work in Latin America, coupled with his ethnographic training and prior work in a region of the world also extensively examined by Low in other scholarly works, was likely the reason for bringing it up in a conversation about the latest developments in the field and potential research opportunities. I acquired the book when I was teaching Global Urbanism and Culture and International Urban Planning. I was pleasantly surprised with the book’s thorough conceptual lineage, historic characterizations, attention to detail, comprehensive ethnographic investigations, and implications for transforming reality as well as institutional processes. Spatializing Culture is a welcome addition to urban planning textbooks, which tend to be relatively less critical, are often covered with normative constructs and statistics, and are more institutional in their characterization of problems and recommendations for further action.For the most part, the ethnographic method is qualitative, participa-tory, detailed, and quite comprehensive in characterizing key variables as the researcher found them on the ground. This differs slightly from urban planning’s preoccupation with public policy, policy analysis, rules and regulations, institutionalized procedures, the public good, and overall positivist and rationalist concerns with documenting reality and helping to lead transformative planning processes, whether in the realm of land use, transportation, housing, economic development, infrastructure, or the environment. Although International Urban Planning was to be taught in a rather orthodox manner with recourse to understanding planning cultures, best practices, lessons learned, and implications for similar situations, the Global Urbanism and Culture course was slightly more aligned with the discussions put forward by Low. These included attention to postmodern ideals, the use of creativity in community planning, distinctions between popular and highbrow culture, and the building of iconic structures in contexts of urban regeneration and mega-event planning. As such, my students were somewhat already exposed to issues of embodied spaces and to ideas of... (shrink)

In his philosophy of nothingness, Kitar Nishida illuminates the matrix of transformation of the world ''from the Created to the Creating'' through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The ''Space of Transparency'' put forth by Ufan Lee, the leader (...) of Monoha, is the principal example. This essay investigates Nishida's notion of shintai and its influence on Lee's theory of art. (shrink)

Not only does Hoffman claim that we do not see reality as it is, but that unperceived brains, trees and moons do not exist. His “interface theory of perception” is a peculiar blend of metaphorical ontology (objects are icons, space-time is a desktop) and mathematical modelling (the game-theoretical argument that fitness trumps truth. Conflating abstractions with concrete experience, evolution is used to refute everything (including evolution itself. Hoffman’s sweeping iconoclasm then lands where it took off: addressing the problem of (...) consciousness. After arguing against reality, he will tell us what it is. (shrink)

Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms. Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical description of the relationships between image and reality all the more necessary. Among (...) images, the classical distinction between documentary and fiction has been drastically called into question, and along with it the nature of the emotions and values we experience in these two domains. Rozzoni promotes a phenomenology of the image, that is, a return to a description of images that starts from their essential features while avoiding simplistic dichotomies. By elucidating images’ intimate relationship with phantasy and aesthetic experience and their role in shaping our experience of "reality," this book develops a perspectival notion of "truth" intended to shed light on our contemporary interactions with images and the events, emotions, and values we experience through them. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external (...) pictures and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external (...) pictures and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

Establishing and maintaining reference is a crucial part of discourse. In spoken languages, differential linguistic devices mark referents occurring in different referential contexts, that is, introduction, maintenance, and re-introduction contexts. Speakers using gestures as well as users of sign languages have also been shown to mark referents differentially depending on the referential context. This article investigates the modality-specific contribution of the visual modality in marking referential context by providing a direct comparison between sign language and co-speech gesture with speech in (...) elicited narratives. Across all forms of expression, we find that referents in subject position are referred to with more marking material in re-introduction contexts compared to maintenance contexts. Furthermore, we find that spatial modification is used as a modality-specific strategy in both DGS and German co-speech gesture, and that the configuration of referent locations in sign space and gesture space corresponds in an iconic and consistent way to the locations of referents in the narrated event. However, we find that spatial modification is used in different ways for marking re-introduction and maintenance contexts in DGS and German co-speech gesture. The findings are discussed in relation to the unique contribution of the visual modality to reference tracking in discourse when it is used in a unimodal system with full linguistic structure versus in a bimodal system that is a composite of speech and gesture. (shrink)

Despite the iconic roles of coelacanths, cycads, tadpole shrimps, and tuataras as taxa that demonstrate a pattern of morphological stability over geological time, their status as living fossils is contested. We responded to these controversies with a recommendation to rethink the function of the living fossil concept. Concepts in science do useful work beyond categorizing particular items and we argued that the diverse and sometimes conflicting criteria associated with categorizing items as living fossils represent a complex problem space (...) associated with answering a range of questions related to prolonged evolutionary stasis. Turner defends the living concept against a variety of recent skeptics, but his criticism of our approach relies on a misreading of our main argument. This misreading is instructive because it brings into view the value of three central themes for rethinking the living fossil concept—the function of concepts in biology outside of categorization, the methodological importance of distinguishing parts and wholes in conceptualizing evolutionary phenomena, and articulating diverse explanatory goals associated with these phenomena. (shrink)

Across languages, children map words to meaning with great efficiency, despite a seemingly unconstrained space of potential mappings. The literature on how children do this is primarily limited to spoken language. This leaves a gap in our understanding of sign language acquisition, because several of the hypothesized mechanisms that children use are visual (e.g., visual attention to the referent), and sign languages are perceived in the visual modality. Here, we used the Human Simulation Paradigm in American Sign Language (ASL) (...) to determine potential cues to word learning. Sign‐naïve adult participants viewed video clips of parent–child interactions in ASL, and at a designated point, had to guess what ASL sign the parent produced. Across two studies, we demonstrate that referential clarity in ASL interactions is characterized by access to information about word class and referent presence (for verbs), similarly to spoken language. Unlike spoken language, iconicity is a cue to word meaning in ASL, although this is not always a fruitful cue. We also present evidence that verbs are highlighted well in the input, relative to spoken English. The results shed light on both similarities and differences in the information that learners may have access to in acquiring signed versus spoken languages. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically (...) informed account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

Models are of central importance in many scientific contexts. The centrality of models such as the billiard ball model of a gas, the Bohr model of the atom, the MIT bag model of the nucleon, the Gaussian-chain model of a polymer, the Lorenz model of the atmosphere, the Lotka-Volterra model of predator-prey interaction, the double helix model of DNA, agent-based and evolutionary models in the social sciences, or general equilibrium models of markets in their respective domains are cases in point. (...) Scientists spend a great deal of time building, testing, comparing and revising models, and much journal space is dedicated to introducing, applying and interpreting these valuable tools. In short, models are one of the principal instruments of modern science. -/- Philosophers are acknowledging the importance of models with increasing attention and are probing the assorted roles that models play in scientific practice. The result has been an incredible proliferation of model-types in the philosophical literature. Probing models, phenomenological models, computational models, developmental models, explanatory models, impoverished models, testing models, idealized models, theoretical models, scale models, heuristic models, caricature models, didactic models, fantasy models, toy models, imaginary models, mathematical models, substitute models, iconic models, formal models, analogue models and instrumental models are but some of the notions that are used to categorize models. While at first glance this abundance is overwhelming, it can quickly be brought under control by recognizing that these notions pertain to different problems that arise in connection with models. For example, models raise questions in semantics (what is the representational function that models perform?), ontology (what kind of things are models?), epistemology (how do we learn with models?), and, of course, in philosophy of science (how do models relate to theory?; what are the implications of a model based approach to science for the debates over scientific realism, reductionism, explanation and laws of nature?). (shrink)