Auth: University College London, Distributed by Viking.

We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...) otherwise implying it. Now, as predicted by the well-supported assumption that we can also assert with pictures, the lying/misleading distinction appears to intuitively show up there too. Here I’ll explain how the debate confronting the two accounts plays out both in general and in that case, aiming to provide support for the adverbial account. (shrink)

Scientists typically use a variety of representations, including different kinds of figures, to present and defend hypotheses. In order to understand the justification of scientific hypotheses, it is essential to understand how visual representations contribute to scientific arguments. Since the logical understanding of arguments involves the truth or falsity of the representations involved, visual representations must have the capacity to bear truth in order to be genuine components of arguments. By drawing on Goodman's analysis of symbol systems, and on Tarski's (...) work on truth, I show that the figures used in science meet this criterion. (shrink)

In his long-awaited new edition of Philosophy of Mathematics, James Robert Brown tackles important new as well as enduring questions in the mathematical sciences. Can pictures go beyond being merely suggestive and actually prove anything? Are mathematical results certain? Are experiments of any real value?" "This clear and engaging book takes a unique approach, encompassing nonstandard topics such as the role of visual reasoning, the importance of notation, and the place of computers in mathematics, as well as traditional topics (...) such as formalism, Platonism, and constructivism. The combination of topics and clarity of presentation make it suitable for beginners and experts alike. The revised and updated second edition of Philosophy of Mathematics contains more examples, suggestions for further reading, and expanded material on several topics including a novel approach to the continuum hypothesis."--BOOK JACKET. (shrink)

People have always wondered how thinking takes place and what thoughts are constructed from. We typically experience our thoughts as involving pictorial (or sensory) contents or as being in words. Although this idea has been enshrined in psychology as the “dual code” theory of reasoning and memory, serious questions have been raised concerning this view. It appears that whatever the form of our thoughts it is unlikely that it is anything like our experience of them. But if thought is not (...) in pictures or words, what form does it take? If we do not sometimes think in words, then what actually goes on when we think by engaging in an “inner dialogue”? And if we do not sometimes think in pictures, what goes on when we reason by creating and examining “mental images”? (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

Critica discussion of Pasquale Frascolla, Tractatus Logico-Philosophicus. Introduzione alla lettura, Carocci, Roma, 2000, 322 pp.

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings (...) through touch. This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

In this article, I elaborate on the approach to joy preserved in East Asian Yogācāra texts authored by Xuanzang and his disciple, Kuiji. I argue that these Yogācāra Buddhists propose a contextualist approach that does not presume joy to be an emotion with an essential property but rather perceives joy as always contextualized in lifeworlds at the personal and interpersonal levels. As such, Xuanzang and Kuiji outline two contrasting pictures of joy to capture how it is experienced in the (...) lifeworld of ignorance and the lifeworld of wisdom, respectively. Upon delineating what joy is and how it is experienced, I continue to explore what joy can promise. Since joy does not have an inherent property, people can always make a collaborative effort to recontextualize joy for inclusion and emancipation. As such, I hope to draw on the Yogācāra analysis of joy to enrich the feminist discussion on happiness. (shrink)

This is a critical review of Pasquale Frascolla's Tractatus Logico-Philosophicus. Introduzione alla lectura.

Chapter in Wittgenstein at the Movies, an in-depth explorations of two experimental films on Wittgenstein: Derek Jarman's Wittgenstein and Péter Forgács' Wittgenstein Tractatus.

In the past decade there has been renewed interest in the study of mental imagery. Emboldened by new findings from neuroscience, many people have revived the idea that mental imagery involves a special format of thought, one that is pictorial in nature. But the evidence and the arguments that exposed deep conceptual and empirical problems in the picture theory over the past 300 years have not gone away. I argue that the new evidence from neural imaging and clinical neuropsychology does (...) little to justify this recidivism because it does not address the format of mental images. I also discuss some reasons why the picture theory is so resistant to counterarguments and suggest ways in which non-pictorial theories might account for the apparent spatial nature of images. (shrink)

A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in (...) question, and Kant’s aesthetic which involves ‘the free play of the cognitive faculties’. In ths tension lies the particular pleasure of Steele’s poetry. (shrink)

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Leonhart Fuchs on the Importance of PicturesSachiko KusukawaIf not for the attractive plant with overhanging flute-like flowers that was named after him, Leonhart Fuchs (1501–66) is best known today as one of the pioneers of accurate representations of plants in histories of scientific illustrations.1 The pictures in Fuchs’s Remarkable Commentaries on the History of Plants (1542) have been appreciated usually for their “naturalistic” features (i.e., pictures drawn (...) from observing a plant specimen), as well as for their tendency to discard individual blemishes and portray a universal or ideal “type” of a plant where several varieties of species could be incorporated into one bush, or where various stages of the same plant may be depicted in one figure.2 On the other hand no historian of botany who has examined the text these pictures accompanied has found that such qualities as observation from nature or a sense of “ideal type” contributed to Fuchs’s theoretical understanding of [End Page 403] plants: he lacked any sense of the family genera or Linnean classification, for he had simply adopted an alphabetical ordering.3Fuchs himself considered his pictures remarkable—as he was at pains to point out—and he believed his pictures were absolutely crucial for his commentary on plants. My immediate aim in this paper, therefore, is to offer an interpretation of Fuchs’s Remarkable Commentaries on the History of Plants which does not split the work into artistically positive and botanically negative elements. As I shall argue, the uniqueness and so the controversial nature of Fuchs’s enterprise lies in the kind of argument and procedure he believed to be valid for an academic study of plants. More generally, I hope to use this reassessment of Fuchs’s work to show how pictures could be as controversial as texts and how the uses of texts and pictures together form past acts which require historical explanation. Click for larger view View full resolutionFigure 1.The Artists. Leonhart Fuchs, De historia stirpium, 1542, verso of last folio page. Reproduced by permission of the Syndics of Cambridge University Library.In 1542 Fuchs published his Remarkable Commentaries on the History of Plants Belaboured with Great Expense and Vigilance with More than Five Hundred Live Images of Plants Attached. It begins with a picture of Fuchs, the author, at the age of forty-one and ends with that of the artists (fig. 1). Although the division of labor depicted here seems to have been a standard one for printing illustrated books in this period,4 it is unusual that we know their names. Albrecht Meyer did the drawings from life, Heinrich Füllmaurer transferred the drawings to woodblocks, and Veit Rudolf Speckle cut those woodblocks.5 Fuchs was proud of one of the artists in particular: “the woodcutter [sculptor] Veit Rudolf Speckle, by far the best in Strasbourg, excellently imitated the admirable industry of painters: he has so skilfully expressed the outlines of each picture by carving [sculpendo] that he seems to compete with the painter for glory and victory.”6 A comparison between the painter and the sculptor had been a favorite topic in the Renaissance genre of paragone—Leonardo da Vinci, Galileo, Castiglione, and Michaelangelo composed treatises on it—where the [End Page 404] relative merits of various mimetic arts were discussed.7 Fuchs’s comment on Speckle is more nuanced, however, than a polite competition between the arts over their mimetic skills: Fuchs announces that Speckle is worthy of praise in producing a picture—normally the domain of the painter (pictor)—with the specialized skill of carving of the cutter (sculptor). This is surely an appreciation of the particular skill involved in producing replicable pictures for printed books, just as Erasmus had, a generation earlier, acknowledged in Albrecht Dürer’s prowess at engraving the potential for reproducibility in a print culture.8 Indeed, of the artists involved in printing, it was the woodcutter who could expect to be paid most in this period—nearly fifteen times more than the artist who originally drew the pictures.9 Click for larger view View full resolutionFigure 2.Atriplex. Theodore Dorsten, Botanicon, 1540, fol. 35r. Reproduced... (shrink)

Pain perception arises from a complex interaction between a nociceptive stimulus and different emotional and cognitive factors, which appear to be mediated by both automatic and controlled systems. Previous evidence has shown that whereas conscious processing of unpleasant stimuli enhances pain perception, emotional influences on pain under unaware conditions are much less known. The aim of the present study was to investigate the modulation of pain perception by unconscious emotional pictures through an emotional masking paradigm. Two kinds of both (...) somatosensory (painful and non-painful) and emotional stimulation (negative and neutral pictures) were employed. Fifty pain-free participants were asked to rate the perception of pain they were feeling in response to laser-induced somatosensory stimuli as faster as they can. Data from pain intensity and reaction times were measured. Statistical analyses revealed a significant effect for the interaction between pain and emotional stimulation, but surprisingly this relationship was opposite to expected. In particular, lower pain intensity scores and longer reaction times were found in response to negative images being strengthened this effect for painful stimulation. Present findings suggest a clear pain perception modulation by unconscious emotional contexts. Attentional capture mechanisms triggered by unaware negative stimulation could explain this phenomenon leading to a withdrawal of processing resources from pain. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary (...) social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

ABSTRACTIn the present study, attentional bias was investigated as a potential predisposing mechanism for the contamination-related subtype of obsessive-compulsive disorder. Fifty healthy participants with varying degrees of subclinical C-OC symptoms performed a visual search task to measure differential attentional biases elicited by neutral, disgust-, and fear-specific pictorial material. Participants had to find a target picture within five neutral distractor pictures randomly presented on different locations in an array. The task was to decide whether the array contained an unpleasant target (...) picture or not. In randomly-selected emotional trials, participants were further asked about the content of the picture and the confidence of their answer. The results show that the reaction times significantly differed between the emotional and neutral pictures. Participants were significantly more confident in answering questions referring to fear compared to disgust pictures. This effect was mar... (shrink)

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are (...) premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars. (shrink)

For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are analysed and connected with (...) the New Objectivity paintings on a modernist background. (shrink)

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part (...) sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. (shrink)

(1984). Showing Movement in Children's Pictures: a study of the effectiveness of some non‐mimetic representations of motion. Educational Studies: Vol. 10, No. 3, pp. 255-261.

Christians have long understood grace both as a declaration of acceptance and as a power that transforms. This article illumines two theses while investigating the relationship between these understandings of grace in Luther, Calvin, and Barth's development of the law/gospel dialectic and the doctrines of justification and sanctification. First, though each theologian makes use of both understandings of grace, each also tends to emphasize one over the other. The unity and tension within and between these perspectives help to show that (...) while both pictures are of the greatest importance for each other and cannot be separated, they also exist in tension, as long as they are worked out in the lives of sinners. Second, the author claims that the positions of Luther and Barth are more alike than is generally recognized. (shrink)