A painting by Anselm Kiefer provides the starting point for the problem to be addressed in this essay. In Sulamith we encounter a haunting image of a cavernous brick room, its ceiling blackened from some earlier fire. Except for seven flames visible in the distant reaches of the room, no light is showing. The windows have been covered over by fragments of woodcuts, stapled to the surface, and the flaming torches lining the walls of this memorial space have been obscured (...) by other fragments. Everywhere there is the feeling of emptiness, enclosure, and mourning. Inscribed in the upper left corner a word appears. In addition to the staples, which the artist has made no effort to hide, a careful scan reveals several bits of straw attached to the surface. How are we to interpret this painting, which is more like a complex text than a vehicle of immediate visual meaning? (shrink)

Scientists are portrayed as champions of objectivity and truth, and artists as champions of subjectivity and creative expression. Through analysis of modern art, John C. Gilmour shows how misleading is this separation of the world into objective and subjective spheres. This false dichotomy depends upon a dated philosophy of mind. The issues posed are developed from the ideas of Nietzche, Heidegger, Merleau-Ponty, Gadamer, Ricoeur, Wittgenstein, Rorty, Dewey, and Whitehead. Picturing the World requires us to reconceive the role of the artist (...) in the creative process and the role of the arts in general. (shrink)