In this article we address the question of how many impossible images Escher produced. To answer requires us first to clarify a range of concepts, including content, ambiguity, illusion, and impossibility. We then consider, and reject, several candidates for impossibility before settling on an answer.

The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual framework whereby the discursive or (...) the narrative is associated with the masculine, and the image or spectacle is aligned with the feminine. This is not to reject these applications out of hand but rather to revisit this area with its blind spots in mind and to consider aspects that are perhaps at once obvious but often overlooked. (shrink)

I argue that with the advent of poststructuralism, traditional theories of representation, truth, and resistance have been seriously brought into question. References to the “natural” and the “wild” cannot escape the poststructural attack against foundational concepts and the constituting character of human-centered language. I explore the ways in which environmental movements and literary expression have tended to posit pre-ideological essences, thereby replicating patterns of power and authority. I also point to how environmentalism might be reshaped in light of poststructuralism to (...) challenge power without reference to authority. (shrink)

In this paper we call for attention to be paid to the link between logic and geometry. To apply this theme, we survey the connection between n-cubes, Lukasiewicz logics and Ulam games. We then extend what is known to the case where the number of permitted lies in a Ulam game exceeds 1. We conclude by identifying the precise sense in which these logics are paraconsistent.

Ross, Hintikka, Waterlow and Makin have all suggested that there is something problematic about Aristotle’s treatment of possibility. I will canvas their concerns and propose that the problem is not so much with Aristotle as the fact that the notion of possibility is not a single simple concept. I will present eight different components of the notion of possibility and suggest that Aristotle may have been aware of all of them. I will conclude whilst his treatment can appear inconsistent, it (...) is instead, an attempt to give a complete description of a complex notion. (shrink)

In this paper I will describe four theories of time that can be found in Aristotle. I will compare these four theories with modern notions of time, and propose that the ancient and modern views are substantively the same. Of course, all four theories cannot be true together. I will present four ways to resolve the inconsistencies, and conclude that the contradictions can be resolved.

This lively collection of essays explores the vital role of beauty in the human experience of place, interactions with other species, and contemplation of our own embodied lives. Devoting attention to themes such as global climate change, animal subjectivity, environmental justice and activism, and human moral responsibility for the environment, these contributions demonstrate that beauty is not only a meaningful dimension of our experience, but also a powerful strategy for inspiring cultural transformation. Taken as a whole, they underscore the ongoing (...) relevance of aesthetics to the ecocritical project and the concern for beauty that motivates effective social and political engagement. (shrink)

Bazin's distinction between different kinds of realism discriminates between an authentic mode of apprehension and mere sight, or between revelation and spectacle, as it were, where spectacle, significantly, is connected with the arousal of physical sensation. My argument is that this resonates in unexpected ways with a ‘modernist’ conceptual paradigm, specifically in relation to the persistent prioritization of the temporal over the spatial as the superior aesthetic register, itself based upon a residual resistance to the visual realm. To pursue this, (...) I shall return to some of Bazin's most influential texts and concepts. In addition, a consideration of his more marginal discussions of cinema, sex and censorship will offer an oblique entry point into some of these broader issues at play in his work. (shrink)

The Forbidden Subject launches from Ed Abbey's affirmation in Desert Solitaire: 'This is the most beautiful place on earth'. How could such a sentiment become construed as problematic, elitist, or worse? How did beauty become, and why does it largely remain, what Emory Elliot dubbed 'the forbidden subject'?

Resistance movements have traditionally posited a logocentric reality to counter the prevailing structure of dominance. This element of opposition--in the humanities it has been a transhistorical nature and self--is characterized as a preideological essence. Whether this identity is a worker, a woman, the coherent individual, or nature, the tendency has been to use it as a cultural critique as well as an ontologically superior source for representation in literature and for recasting the shape of society. In the process, however, resistance (...) movements tend to replicate--by their participation in logocentricity--the problems of exclusion, hierarchy, mystification, and authority that they initially oppose. ;Examining the use that Emerson, Melville, Jeffers and Snyder make of the term "nature" provides a structure for discussing the problem of attempting to establish a point outside of the text. In addition, the use of nature has a specific role in relation to particular historical moments--nineteenth-century expansion; World War II; and Vietnam--in the works of these writers. ;Emerson is an often referenced source as an example of the oppositional spirit. One finds, however, that his attempt to depoliticize nature results in a centering of anthropocentric concerns. His treatment of the term exposes the criss-crossing of cultural currents and the attempt to locate power. As a result, Emerson inadvertently serves the interests of empire within a rhetoric of freedom. ;Melville probes the possibilities of nature as a ground and finds that the aesthetics of doubleness suggests political contradiction, epistemological relativity, and the will to power. Melville also explores the political and particularly male usages of metaphor. ;Jeffers and Snyder continue to work against a human centered form of resistance and representation. Jeffers posits women and nature against a patriarchal world of violence and narcissism. While tending to posit an essentialist concept of nature, Jeffers nevertheless sets the stage for a nonfoundationalist ecofeminism. Snyder appropriates this framework and, with the help of Hopi myth and Buddhist teachings, moves closer to a resistance that challenges without reference to authority. (shrink)