In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian's description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’. ‘This as if from an observation point, Lessing notes, obviously implies that Lucian himself was uncertain whether this figure was positioned further back, or was at the same time on higher ground. We need to recognize the (...) logic of ancient bas-reliefs where figures further to the back look over those at the front, not because they are actually positioned above them but because they are meant to appear as if standing behind.'1 · 1. The passage is in George Lessing, Briefe, antiquarischen Inhalts, p. 81. Panofsky's discussion does not note that the original text of Lucian makes clear that what is described is a copy of the original painting. This means that some of the issues of misunderstanding situated by Lessing and Panofsky in Lucian's court may in principle be attributable to the copyist. This makes no difference to the conceptual thrust of Panofsky's case.—Trans. (shrink)

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

Through a specific example, this paper explores the problems of empiricism and ideology in the uses of material-cultural and visual evidence for the writing of ancient history. The focus is on an Athenian documentary stele with a fine relief from the late fifth century bc, the history of its publications, and their failure to account for the totality of the object's information—sculptural and epigraphic—let alone the range of rhetorical ambiguities that its texts and images implied in their fifth-century context. While (...) the paper reflects on the Samos Stele, it also considers the broader hermeneutic problems of approaching the different discourses ofword and imagewithin antiquity andworries about the distortions introduced into ancient history by modern formulations, descriptions, and translations of the past. (shrink)

Populated with the likes of Francis of Assisi, Teresa of Avila, and Padre Pio, this book is a fascinating inquiry into the status of saints in the modern world.

Review of a book Seeing the Face, Seeing the Soul. Polemon's Physiognomy from Classical Antiquity to Medieval Islam by S. Swain, George Boys-Stones, Jas Eisner, Antonella Ghersetti, Robert Hoyland, Ian Repath.

Human reproductive cloning has not yet resulted in any live births. There has been widespread condemnation of the practice in both the scientific world and the public sphere, and many countries explicitly outlaw the practice. Concerns about the procedure range from uncertainties about its physical safety to questions about the psychological well-being of clones. Yet, key aspects such as the philosophical implications of harm to future entities and a comparison with established reproductive technologies such as in vitro fertilisation are often (...) overlooked in discussions about HRC. Furthermore, there are people who are willing to use the technology. Several scientists have been outspoken in their intent to pursue HRC. The importance of concerns about the physical safety of children created by HRC and comparisons with concerns about the safety of IVF are discussed. A model to be used to determine when it is acceptable to use HRC and other new assisted reproductive technologies, balancing reproductive freedom and safety concerns, is proposed. Justifications underpinning potential applications of HRC are discussed, and it is determined that these are highly analogous to rationalisations used to justify IVF treatment. It is concluded that people wishing to conceive using HRC should have a prima facie negative right to do so. (shrink)

Recently, priming effects of unconscious stimuli that were never presented as targets have been taken as evidence for the processing of the stimuli’s semantic categories. The present study explored the necessary conditions for a transfer of priming to novel primes. Stimuli were digits and letters which were presented in various viewer-related orientations . The transfer of priming to novel stimulus orientations and identities was remarkably limited: in Experiment 1, in which all conscious targets stood upright, no transfer to unconscious primes (...) in a non-target orientation was found. Experiment 2, in which primes were presented without masks, ruled out the possibility that primes were presented too short to allow congruency effects. In Experiments 3 and 4, in which all targets were presented upside down, priming transferred to upright stimuli with target identities but neither to horizontal stimuli nor to stimuli with novel identities. We suggest that whether a transfer of priming to unpracticed stimuli occurs or not depends on observers’ expectations of specific stimulus exemplars. (shrink)

Looking times and gaze behavior indicate that infants can predict the goal state of an observed simple action event (e.g., object‐directed grasping) already in the first year of life. The present paper mainly focuses on infants’ predictive gaze‐shifts toward the goal of an ongoing action. For this, infants need to generate a forward model of the to‐be‐obtained goal state and to disengage their gaze from the moving agent at a time when information about the action event is still incomplete. By (...) about 6 months of age, infants show goal‐predictive gaze‐shifts, but mainly for familiar actions that they can perform themselves (e.g., grasping) and for familiar agents (e.g., a human hand). Therefore, some theoretical models have highlighted close relations between infants’ ability for action‐goal prediction and their motor development and/or emerging action experience. Recent research indicates that infants can also predict action goals of familiar simple actions performed by non‐human agents (e.g., object‐directed grasping by a mechanical claw) when these agents display agency cues, such as self‐propelled movement, equifinality of goal approach, or production of a salient action effect. This paper provides a review on relevant findings and theoretical models, and proposes that the impacts of action experience and of agency cues can be explained from an action‐event perspective. In particular, infants’ goal‐predictive gaze‐shifts are seen as resulting from an interplay between bottom‐up processing of perceptual information and top‐down influences exerted by event schemata that store information about previously executed or observed actions. (shrink)

Cognitive Science, Volume 45, Issue 8, August 2021.

Dieses Handbuch bietet erstmals einen umfassenden und systematischen Zugang zu den Theorien des Krieges. Der erste Teil des Werkes ist interdisziplinär angelegt und es werden verschiedene Kriegstheorien dargestellt – von anthropologischen bis hin zu religiösen Ansätzen. Der zweite Teil stellt zentrale Theoretiker des Krieges vor. Der dritte Teil enthält empirische Fallstudien vom Mittelalter bis in die Gegenwart zu Teilaspekten der Kriegstheorien. Insgesamt stellt der Band die Dynamik der theoretischen Entwicklung dar. Dabei berücksichtigt er die jeweiligen politischen, sozioökonomischen und technologischen Faktoren.

Within bioethics, Kant’s conception of autonomy is often portrayed as excessively rationalistic, abstract, and individualistic, and, therefore, far removed from the reality of patients’ needs. Drawing on recent contributions in Kantian philosophy, we argue that specific features of Kantian autonomy remain relevant for medical ethics and for patient experience. We use contemporary end-of-life illness narratives—a resource that has not been analyzed with respect to autonomy—and show how they illustrate important Kantian themes, namely, the duty to know oneself, the interest in (...) elaborating universalizable principles, and the emphasis on ideals as points of orientation that guide behavior without ever being fully realized. As Kant does, the patient-authors discussed here perceive the end of life as a moment to reflect on the constitutive principles which have governed that life, thereby offering a privileged moment to pursue self-knowledge. We argue that bioethical conceptions of autonomy stand to gain if they revise their conception of Kantian moral philosophy as too formal, abstract, and detached from emotions and personal relationships to be helpfully applied. (shrink)

The present study investigated whether infants learn the effects of other persons' actions like they do for their own actions, and whether infants transfer observed action-effect relations to their own actions. Nine-, 12-, 15- and 18-month-olds explored an object that allowed two actions, and that produced a certain salient effect after each action. In a self-exploration group, infants explored the object directly, whereas in two observation groups, infants first watched an adult model acting on the object and obtaining a certain (...) effect with each action before exploring the objects by themselves. In one observation group, the infants' actions were followed by the same effects as the model's actions, but in the other group, the action-effect mapping for the infant was reversed to that of the model. The results showed that the observation of the model had an impact on the infants' exploration behavior from 12 months, but not earlier, and that the specific relations between observed actions and effects were acquired by 15 months. Thus, around their first birthday infants learn the effects of other persons' actions by observation, and they transfer the observed action-effect relations to their own actions in the second year of life. (shrink)

Speakers’ perception of a visual scene influences the language they use to describe it—which objects they choose to mention and how they characterize the relationships between them. We show that visual complexity can either delay or facilitate description generation, depending on how much disambiguating information is required and how useful the scene's complexity can be in providing, for example, helpful landmarks. To do so, we measure speech onset times, eye gaze, and utterance content in a reference production experiment in which (...) the target object is either unique or non-unique in a visual scene of varying size and complexity. Speakers delay speech onset if the target object is non-unique and requires disambiguation, and we argue that this reflects the cost of deciding on a high-level strategy for describing it. The eye-tracking data demonstrate that these delays increase when speakers are able to conduct an extensive early visual search, implying that when speakers scan too little of the scene early on, they may decide to begin speaking before becoming aware that their description is underspecified. Speakers’ content choices reflect the visual makeup of the scene—the number of distractors present and the availability of useful landmarks. Our results highlight the complex role of visual perception in reference production, showing that speakers can make good use of complexity in ways that reflect their visual processing of the scene. (shrink)

Purpose– The purpose of this paper is to set an example of how people with severe learning difficulties could be more integrated into our society.Design/methodology/approach– The installation consists of puzzles in the form of a specially designed table with an integrated touch screen. As the visual templates for the puzzles serve pictures painted by a person with severe learning difficulties. The pieces of the puzzles are manipulated directly by the player on the touch screen presenting an intuitive and easily learned (...) user interface.Findings– The framework for the work was a creation of an interactive art installation in the form of a game where users assemble puzzles on a touch monitor, housed in a specially designed table. Paintings by a person with severe learning difficulty served as visual templates for the puzzles. The pieces of the puzzles can be manipulated directly by the user on a touch screen presenting an intuitive and easily learned user interface, which stimulates the learning of fine motor skills and encourages practice, thus making it suitable for persons with severe learning difficulties in an art therapy setting.Practical implications– As the work has the format of an interactive art installation, this enables it to gain publicity through exhibitions in art galleries.Social implications– The installation demonstrates how people with severe learning difficulties can be integrated into the broader society. At the same time, these people are encouraged to use modern computer information technology, which is becoming a necessity also for this group of users. Ethical issues regarding how this group of people can get involved in such work are also discussed.Originality/value– Combining the habituation of people with severe learning difficulties with computer technology in the form of a game, and framing the whole process as a fine art undertaking, to win the public recognition, is a novelty in addressing the needs of these people. (shrink)