The objectives of this study were to develop a high-density chromosome bin map of homoeologous group 7 in hexaploid wheat, to identify gene distribution in these chromosomes, and to perform comparative studies of wheat with rice and barley. We mapped 2148 loci from 919 EST clones onto group 7 chromosomes of wheat. In the majority of cases the numbers of loci were significantly lower in the centromeric regions and tended to increase in the distal regions. The level of duplicated loci (...) in this group was 24% with most of these loci being localized toward the distal regions. One hundred nineteen EST probes that hybridized to three fragments and mapped to the three group 7 chromosomes were designated landmark probes and were used to construct a consensus homoeologous group 7 map. An additional 49 probes that mapped to 7AS, 7DS, and the ancestral translocated segment involving 7BS also were designated landmarks. Landmark probe orders and comparative maps of wheat, rice, and barley were produced on the basis of corresponding rice BAC/PAC and genetic markers that mapped on chromosomes 6 and 8 of rice. Identification of landmark ESTs and development of consensus maps may provide a framework of conserved coding regions predating the evolution of wheat genomes. (shrink)

Artificial intelligence (AI) and machine learning (ML) are increasingly integrated into the functioning of physical and digital products, creating unprecedented opportunities for interaction and functionality. However, there is a challenge for designers to ideate within this creative landscape, balancing the possibilities of technology with human interactional concerns. We investigate techniques for exploring and reflecting on the interactional affordances, the unique relational possibilities, and the wider social implications of AI systems. We introduced into an interaction design course (_n_ = 100) nine (...) ‘AI exercises’ that draw on more than human design, responsible AI, and speculative enactment to create experiential engagements around AI interaction design. We find that exercises around metaphors and enactments make questions of training and learning, privacy and consent, autonomy and agency more tangible, and thereby help students be more reflective and responsible on how to design with AI and its complex properties in both their design process and outcomes. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

Art and Authority explores the sources, nature, and limits of artistic freedom. K. E. Gover draws upon real-world cases and controversies in contemporary visual art to offer a better understanding of artistic authorship and authority. Each chapter focuses on a case of dispute over the rights of an artist with respect to his or her artwork.

Theories of Theories of Mind brings together contributions by a distinguished international team of philosophers, psychologists, and primatologists, who between them address such questions as: what is it to understand the thoughts, feelings, and intentions of other people? How does such an understanding develop in the normal child? Why, unusually, does it fail to develop? And is any such mentalistic understanding shared by members of other species? The volume's four parts together offer a state of the art survey of the (...) major topics in the theory-theory/simulationism debate within philosophy of mind, developmental psychology, the aetiology of autism and primatology. The volume will be of great interest to researchers and students in all areas interested in the 'theory of mind' debate. (shrink)

This volume is a state-of-the-art survey of the psychology of reasoning, based around, and in tribute to, one of the field "s most eminent figures: Jonathan St B.T. Evans.

How can aesthetic enquiry contribute to the study of visual culture? There seems to be little doubt that aesthetic theory ought to be of interest to the study of visual culture. For one thing, aesthetic vocabulary has far from vanished from contemporary debates on the nature of our visual experiences and its various shapes, a fact especially pertinent where dissatisfaction with vulgar value relativism prevails. Besides, the very question ubiquitous in the debates on visual culture of what is natural and (...) what is acquired in our visual experiences has been a topic in aesthetics at least since the Enlightenment. And last but not least, despite attempts to study visual culture without employing the concept of art, there is no prospect of this central subject of aesthetic theory ebbing away from visual studies. The essays compiled in this volume show a variety of points of intersection and involvement between aesthetics and visual studies; some consider the future of visual art, some the conditions and characteristics of contemporary visual aesthetic experience, while others take on the difficult question of the relation between visual representation and reality. What unites them is their authors' willingness to think about contemporary visual culture in the conceptual frame of aesthetics. This book will be of great interest to students and scholars of philosophical aesthetics, art history, and cultural studies. (shrink)

In this essay I call attention to the fact that there is a work of art in Heidegger’s “The Origin of the Work of Art,” and yet almost no one talks about it: the C. F. Meyer poem “Roman Fountain.” This critical silence is all the more ironic, since (1) it is a self-sufficient artwork, and not just described or mentioned in the text; and (2) the poem’s fountain, as man-made spring, seems to speak to—if not speak of—Heidegger’s thesis concerning (...) the Ur-sprung of the artwork itself. I argue that the poem illuminates a central problem or question concerning the status of art as mimesis, and I suggest that the reason why this poem tends to be overlooked amid the “obsessive” critical attention that it otherwise attracts can be found within the essay itself. (shrink)

In this essay I call attention to the fact that there is a work of art in Heidegger’s “The Origin of the Work of Art,” and yet almost no one talks about it: the C. F. Meyer poem “Roman Fountain.” This critical silence is all the more ironic, since it is a self-sufficient artwork, and not just described or mentioned in the text; and the poem’s fountain, as man-made spring, seems to speak to—if not speak of—Heidegger’s thesis concerning the Ur-sprung (...) of the artwork itself. I argue that the poem illuminates a central problem or question concerning the status of art as mimesis, and I suggest that the reason why this poem tends to be overlooked amid the “obsessive” critical attention that it otherwise attracts can be found within the essay itself. (shrink)

In a recent article, Hans Maes argues that examples drawn from contemporary visual art shed new light on the long-standing and seemingly intractable debate between Hypothetical Intentionalism (HI) and Moderate Actual Intentionalism (AI). He presents two test cases that, he argues, tilt the scale in favour of AI. In this paper I re-examine Maes's two test cases, and argue that neither succeeds as a test case. The first case fails because it confuses a relevant fact about the artwork with the (...) artist's intentions for the work. The second case fails because the work in question does not count as an utterance. The failure of Maes's examples suggests that the interpretive norms surrounding contemporary visual art cannot settle the debate between AI and HI. (shrink)

This paper offers a review of the catalogue composed by Myriam Vogelaar of one of the largest and most important collections of Fight Books and fencing manuals in the field of Historical European Martial Arts Studies (HEMAS). The Mokken Collection is named after Wiebe Mokken, the man who meticulously built it up over the past decades in Amsterdam. The book also highlights the glaring lack of contemporary knowlegde about other major historical fencing-related collections, like Gotti’s spectacular private collection held at (...) the Museo dell Arte Marziale in Brescia, Italy. Others, such as the Corble collection at the KU Leuven Libraries, recently published their catalogue on line. This catalogue thus constitutes an important milestone for this exciting and still relatively new subdomain in the field of European cultural studies, by making accessible one of the most important collections of source materials dedicated to it. (shrink)

In recent years the science-and-religion/spirituality/theology dialogue has flourished, but the impact on the minds of the general public, on society as a whole, has been less impressive. Also, religious believers and outspoken atheists face each other without progressing toward a common understanding. The view taken here is that achieving a more marked impact of the dialogue would be beneficial for a peaceful survival of humanity. I aim to argue the why and how of that task by analyzing three possible purposes (...) of the dialogue and their logical interdependence, suggest conceivable improvements of the quality and extent of the current efforts toward a negotiated action plan, and consider an enlargement of the circle of the actors involved. The dialogue that has been carried on between science and religion/spirituality/theology could be expanded and usefully applied to some major problems in the present world. (shrink)

The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the ontology of (...) prints, there seems to be a persistent confusion about the difference between what makes a print an artwork, and what makes it a genuine or authentic artwork, signed or in some other way ratified by a given artist. I conclude by suggesting that prints are indeed ontologically unusual insofar as they occupy an intermediate position between pure multiples, of which there can be an unlimited number of tokens, and singular artworks that consist of one physical object. (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and (...) west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)