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Joel Snyder [11]Joel S. Snyder [3]
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Joel Snyder
University of Chicago
  1.  86
    Photography, Vision, and Representation.Joel Snyder & Neil Walsh Allen - 1975 - Critical Inquiry 2 (1):143-169.
    Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. Furthermore, (...)
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  2.  23
    Finding the Music of Speech: Musical Knowledge Influences Pitch Processing in Speech.Christina M. Vanden Bosch der Nederlanden, Erin E. Hannon & Joel S. Snyder - 2015 - Cognition 143 (C):135-140.
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  3.  41
    Picturing Vision.Joel Snyder - 1980 - Critical Inquiry 6 (3):499-526.
    I find it more than merely suggestive that we call many different kinds of pictures "realistic." As a category label, "realistic" is remarkably elastic. We cheerfully place into the category pictures that are made in strict accordance with the rules of linear perspective, pictures that are at slight variance with those rules but that nonetheless look perfectly "correct" , and pictures made in flagrant contravention of perspective geometry . We accept as realistic pictures that are made in strict accordance with (...)
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  4.  20
    How Previous Experience Shapes Perception in Different Sensory Modalities.Joel S. Snyder, Caspar M. Schwiedrzik, A. Davi Vitela & Lucia Melloni - 2015 - Frontiers in Human Neuroscience 9.
  5.  13
    The Concept of Artistic Volition.Erwin Panofsky, Kenneth J. Northcott & Joel Snyder - 1981 - Critical Inquiry 8 (1):17-33.
    Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the works of art (...)
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  6.  56
    Reflexions on "Las Meninas": Paradox Lost.Joel Snyder & Ted Cohen - 1980 - Critical Inquiry 7 (2):429-447.
    Surely [John R.] Searle must rely on a stable, formal conception of the point of view. He sets Las Meninas on a par with the antimony of the liar and the paradoxes of set theory. But nothing is an antimony or a paradox just because it seems so or just because it is confusing or difficult, even if it seems so to everyone. To deserve such a description, a thing must be, so to speak, intrinsically intractable, not merely resistant when (...)
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  7. Benjamin on Reproducibility and Aura: A Reading of "The Work of Art in the Age of its Technical Reproducibility".Joel Snyder - 1983 - Philosophical Forum 15 (1):130.
     
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  8.  48
    "Las Meninas" and the Mirror of the Prince.Joel Snyder - 1985 - Critical Inquiry 11 (4):539-572.
    It is ironic that, with few exceptions, the now vast body of critical literature about Diego Velázquez’s Las Meninas fails to link knowledge to understanding—fails to relate the encyclopedic knowledge we have acquired of its numerous details to a convincing understanding of the painting as a whole. Las Meninas is imposing and monumental; yet a large portion of the literature devoted to it considers only its elements: aspects of its nominal subjects, their biographies, and their roles in the household of (...)
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  9. Res Ipsa Loquitur.Joel Snyder - 2004 - In Lorraine Daston & Peter Galison (eds.), Things That Talk: Object Lessons From Art and Science. Cambridge, MA: MIT Press. pp. 195--221.
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  10.  64
    Photography and Ontology.Joel Snyder - 1983 - Grazer Philosophische Studien 19 (1):21-34.
    Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...)
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  11. One/Many: Western American Survey Photographs by Bell and O'sullivan.Joel Snyder & Josh Ellenbogen - 2006 - Smart Museum of Art, the University of C.
    Some of the most celebrated images of nineteenth-century American photography emerged from government-sponsored geological surveys whose purpose was to study and document western territories. Timothy H. O'Sullivan and William Bell, two survey photographers who joined expeditions in the 1860s and 1870s, opened the eyes of nineteenth-century Americans to the western frontier. Highlighting a recent Smart Museum of Art acquisition, One/Many brings together an exquisite group of photographs by Bell and O'Sullivan. Particularly noteworthy are their photographic panoramas, assemblages of individual images (...)
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  12.  18
    Photography and Ontology.Joel Snyder - 1983 - Grazer Philosophische Studien 19 (1):21-34.
    Numerous writers on photography and motion pictures have claimed that photographically originated pictures are essentially different from handmade pictures. Arguments made on behalf of the essential difference of photographs from other kinds of pictures generally depend upon one or another of two models of the photographic process: the visual model claims that photographs are closely allied to vision and show what we would have seen from the standpoint of the camera at the time of exposure; the mechanical or automatic model (...)
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  13.  8
    Notes From the Ground.Joel Snyder - 2004 - Critical Inquiry 30 (2):477.
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  14.  1
    An Evolutionary Theory of Music Needs to Care About Developmental Timing.Erin E. Hannon, Alyssa N. Crittenden, Joel S. Snyder & Karli M. Nave - 2021 - Behavioral and Brain Sciences 44.
    Both target papers cite evidence from infancy and early childhood to support the notion of human musicality as a somewhat static suite of capacities; however, in our view they do not adequately acknowledge the critical role of developmental timing, the acquisition process, or the dynamics of social learning, especially during later periods of development such as middle childhood.
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