Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...) serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance. (shrink)

The preoccupation with "depth" and its relevance to cinema and media studies.

This book explores the shared experiential ground of cinema, art, and architecture. Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.

Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of ...

The Dimensions of Difference examines space, time, and bodies in the works of three contemporary women directors and four continental philosophers, leading to a new approach to the question of sexual difference and its place within film criticism.

Rethinking “philosophy” to-day, it is necessary to think first of all about ontological foundations of the modern scientific universe description and rethink them on the ground of modern scientific knowledge, because until now there is no any precise scientific conception of the structure of the universe, of reasons and movingforces of its permanent evolution. All of it create basis to propose various unscientific ideas of creationism. Until now most of philosophers associate the motion of Matter on the whole only (...) with its motion in space and in time, mixing philosophical and physical aspects of these two principle categories. Generally speaking, the present-day ontological model of understanding the World, the Universe is constructed purely on the basis of only these two fundamental categories. However, a more deep reflection of the essence of Being, if to realize it on the basis of only these two global categories, brings us to the disappointing conclusion, that in this case we have nothing more except a mechanical motion, i.e. spatial displacement of a material point (or a system of points) relatively some point of counting off. To make it normal and logic we should add to the ontological model one more essential part – the motion in quality. So, in order to create the full and complete picture of the formation and evolution of the material World it is necessary to observe the motion of material forming in the three equivalentphilosophical categories: in space time quality. The ideas of the new conception of ontological model become actual supplementation of really scientific philosophical knowledge on the way of a more objective ontological comprehension of our Being, of the law of development of the human civilization and the Universe as a whole. This knowledge can be successfully used for the description of the realistic paradigm of Being, in explanations of the meaning of Life. (shrink)

This collection of essays is unlike others in the field of African studies, for it is based on three very precisely delineated focal points: a particular geographical region, the sub-Sahara; specific modes of cultural production, literature and cinema; and a focus on works of French expression. This three-fold approach to exploring the relationships between power and culture in a non-Western environment greatly contributes to making this book unique from a variety of perspectives: African, Francophone and postcolonial studies, as well as (...) cross-disciplinary, cultural, transnational and diasporic studies. Moreover, the book offers deft and innovative analyses that move beyond the rhetoric of crises on the African continent we so very often hear of, so as to present a critical reflection on the subject at hand that is specific to the sub-Sahara and at the same time intimately linked to global culture, economy and politics. The authors' three-fold approach also presupposes that disciplinary compartmentalization increases power conflicts in academia. If only in part, compartmentalization is the result of antagonistic and competitive relations between specialization and multidisciplinary education. This book is thus a modest attempt at presenting an alternative to excessively fixed and homogeneous academic frontiers while considering that disciplinary expertise remains a must. Keeping in mind that an increasing number of scholars in Anglophone Postcolonial studies and Francophone African studies have been attempting for quite some time now to open interstices and build crossroads that can better connect them to each other, keeping in mind that these scholars work at revealing mechanisms by which any antagonistic discourses can mix, influence, act upon or react to one another, this book seeks to take a constructive step in establishing enduring grounds for multidisciplinary, cross-disciplinary and transnational academic research and collaboration. (shrink)

Drawing together eighteen contributions from leading international scholars, this book conceptualizes the history and theory of cinema's century-long relationship to modes of exploration in its many forms, from colonialist expeditions to decolonial radical cinemas to the perceptual voyage of the senses made possible by the cinematic apparatus. This is the first anthology dedicated to thinking cinema's relationship to exploration from a global, decolonial, and ecological perspective. Featuring leading scholars working with pathbreaking interdisciplinary methodologies (drawing upon insights from science and technology (...) studies, postcolonial theory, indigenous ways of knowing, and film theory and history), it theorizes cinema's implication in imperial conquest but also its cutting edge role in empirical expansion and experiments in sensual and critical perception. The collected essays consider filmmaking in cross-cultural contexts, consider films made in or about peoples in South America, Asia, Africa, indigenous North America, as well as polar, outer space, and underwater exploration, with famous figures such as Jacques Yves Cousteau are considered alongside amateur and scientific filmmakers. The essays in this collection are ideal for a broad range of scholars, graduate students, and advanced undergraduate students in Cinema and Media Studies, Cultural Studies, and cognate fields. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational (...) momentum indicate that motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

Tracing the many aesthetic, philosophical, and technological parallels between cinema and astronomy, Hannah Goodwin demonstrates how filmmakers have used cosmic imagery and themes to respond to the twentieth century's moments of existential dread. As our outlook on the future continues to change, Stardust illuminates the promise of cinema to bear witness to humanity's fragile existence within the vast expanse of the universe.

Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...

The nature of matter was as intriguing a question for ancient philosophers as it is for contemporary physicists, and Matter, Space, and Motion presents a fresh and illuminating account of the rich legacy of the physical theories of the Greeks from the fifth century B.C. to the late sixth century A.D.

In Time, Existential Presence and the Cinematic Image, Sam B. Girgus relates Laura Mulvey's theory of 'delayed cinema' to ideas on time and the relationship to the other in the writings of Jean-Luc Nancy, Emmanuel Levinas and Julia Kristeva, among others. The sustained tension in film between, in Mulvey's phrase, 'stillness and the moving image' enacts a drama of existential emergence. The stillness of the framed image in relation to the moving image opens 'free' cinematic time and space for (...) a fresh engagement with crucial ethical and cultural issues. With close readings of films such as The Bicycle Thieves, Two Days, One Night, The Three Burials of Melquiades Estrada, The Revenant and The Age of Innocence, this book proposes a fresh approach to reading film in the context of emerging existential presence and the ethical imperative. (shrink)

The picture which one naturally presents of the situation is that which would arise before an observer placed outside the earth, who could watch the light wave starting from the central mirror and pursuing the distant mirror, catching up with it at some distance beyond the point at which it was when the light wave started. In this case the observer is able to locate the points at which the parts of the apparatus were at different moments and to measure (...) the distances between. We could simulate this situation on the earth by assuming an enclosed square car, from some point in which two balls were shot out in directions at right angles to each other to the walls of the car, bounding back to the point at which they started. We will assume that the balls move with uniform velocity going and coming, and we will assume that the car is moving. An observer outside the car who marked the point on the rail directly over the starting point and the points reached by the balls when they struck the sides of the car, and then measured the distances which the balls travelled, would find that the ball which travelled with the car covered a greater distance than that traversed by the ball which went at right angles to the direction of the train, and yet the balls would return to the starting point at the same moment, provided they travelled over both their paths at the same velocity during their entire trajects, i.e., the same velocity measured within the car. The observer would be at no difficulty to explain this, for he would see that the velocity in the direction of its motion of the car had to be added to that of balls within the car. That is not the case of the light wave. The velocity of a moving shining body is not added to that of the light wave. The wave motion being set up in ether travels with its own uniform velocity of approximately 300,000 kilometers a second. The light waves then, from the standpoint of the observer outside the earth, traverse through the stagnant ether different distances at a uniform velocity and yet the ether waves exhibit on their return none of the evidence which they should exhibit in the interferometer. (shrink)

Explores how moving images both produce and are predicated on place.

Understanding how meaning mechanisms are unleashed in film has been at the center of numerous theoretical surveys of the last few years. Emphasis has especially fallen on seeing as a constructive, meaningful activity and on the diegetic implications of vision. This book is an attempt to extend film theorizing into a new realm, where hearing proves as important as seeing and where the relevance of filmic narrative is differently explored. New paths for future research are suggested by means of associations (...) with the works of linguists or philosophers who have never addressed film theory directly in their writings. Nonetheless, several concepts posited by them (relevance, natural versus non-natural meaning or the notion of Mental spaces) find their application in the present survey. A wide range of examples starting with point-of-view and editing occurrences, passing through the use of music and sound and culminating with the study of whole filmic ensembles, enables the reader to re-examine code-bound or, on the contrary, deviational structures. These are often drawn from familiar sources, proving that not only art films of the Eisenstein or Godard type enhance innovative meaning spaces. Finally, the viewer is seen as a «silly little kitty», an active not passive receiver of textual structures who relies on patterns of known visual or aural backgrounds open to an unlimited field of perspectives. (shrink)

New Takes in Film-Philosophy offers a space for the advancement of the film-philosophy debate by some of its major figures. Fifteen leading academics from Philosophy and Film Studies develop new approaches to film-philosophy, broaden theoretical analyses of the topic and map out problems and possibilities for its future. The collection examines theoretical issues about the relationship between film and philosophy; looks at the relationships film-philosophy has to other media such as photography and literature; and applies theoretical approaches to particular (...) films and directors. Written in a clear style that assumes no previous knowledge of any particular philosopher, this collection will appeal to advanced students and scholars in philosophy, film studies, cultural studies, media studies and the arts. _. (shrink)

Motion pictures, from their emergence in the late nineteenth century, have been used in ways that have held in tension a number of competing or seemingly contradictory impulses. Movies can document and reveal physical and social realities, extend perception through time and space, and create audio-visual approximations of subjective perspective and mental states; they can mimic or transform reality, or create new verisimilar or fantastical screen worlds that, in part, resemble, or abstract our own. Over the past (...) 120 years, many thinkers have attempted to define the aesthetic nature of the medium in, at times, prescriptive or overly conditional ways that centre on some technologies (notably the camera), techniques, or types of motion picture making while excluding others (notably animation), and that bracket or narrowly circumscribe the question of viewer experience. However, in the past thirty years or so, we have seen an expanded interest in forms previously more marginalized in film studies, such as documentary, docudrama, and animation. This is due in part to the digital turn in both screen media production and distribution, which has led to the proliferation and pervasiveness of both. We have also seen much deeper consideration of how viewers understand, experience, and think with screen media with the rise of phenomenological and cognitive approaches to the screen-viewer relationship. Carl Plantinga has become a key and productive figure during these years, generating persuasive understandings of the emotional, schematic, and moral dimensions of our experience of screen media, and the ways in which films and TV are designed for such purposes. A cognitivist, he is interested in the possibilities of the screen to allow us to better imagine and empathize with the experiences of others, to persuade us of a state of affairs, and to provoke our capacity for moral reasoning. (shrink)

Hyperlink cinema is an emergent film genre that seeks to push the boundaries of the medium in order to mirror contemporary life in the globalized community. Films in the genre thus create an interacting network across space and time in such a way as to suggest that people’s lives can intersect on scales that would not have been possible without modern technologies of travel and communication. This allows us to test the hypothesis that new kinds of media might permit (...) us to break through the natural cognitive constraints that limit the number and quality of social relationships we can manage in the conventional face-to-face world. We used network analysis to test this hypothesis with data from 12 hyperlink films, using 10 motion pictures from a more conventional film genre as a control. We found few differences between hyperlink cinema films and the control genre, and few differences between hyperlink cinema films and either the real world or classical drama (e.g., Shakespeare’s plays). Conversation group size seems to be especially resilient to alteration. It seems that, despite many efficiency advantages, modern media are unable to circumvent the constraints imposed by our evolved psychology. (shrink)

This collection brings together a number of leading scholars in film studies to explore viewing and listening dispositives – the Foucauldian concept of a strategic and technical configuration of practices and discourses. A particular goal is to confront points of view and perspectives in the contexts of the rise and spread of new technologies, changes that are altering the boundaries and spaces of cinema and that thus demand new analysis and theoretisation.

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...) of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

We investigate a possible form of Schrödinger’s equation as it appears to moving observers. It is shown that, in this framework, accelerated motion requires fictitious potentials to be added to the original equation. The gauge invariance of the formulation is established. The example of accelerated Euclidean transformations is treated explicitly, which contain Galilean transformations as special cases. The relationship between an acceleration and a gravitational field is found to be compatible with the picture of the ‘Einstein elevator’. The physical (...) effects of an acceleration are illustrated by the problem of the uniformly-accelerated harmonic oscillator. (shrink)

It is shown in the present paper that the transformation relating a parallel transported vector in a Weyl space to the original one is the product of a multiplicative gauge transformation and a proper orthochronous Lorentz transformation. Such a Lorentz transformation admits a spinor representation, which is obtained and used to deduce the transportation properties of a Weyl spinor, which are then expressed in terms of a composite gauge group defined as the product of a multiplicative gauge group and (...) the spinor group. These properties render a spinor amenable to its treatment as a particle coupled to a multidimensional gauge field in the framework of the Kaluza–Klein formulation extended to multidimensional gauge fields. In this framework, a fiber bundle is constructed with a horizontal, base space and a vertical, gauge space, which is a Lie group manifold, termed its structure group. For the present, the base is the Minkowski spacetime and the vertical space is the composite gauge group mentioned above. The fiber bundle is equipped with a Riemannian structure, which is used to obtain the classical description of motion of a spinor. In its classical picture, a Weyl spinor is found to behave as a spinning charged particle in translational motion. The corresponding quantum description is deduced from the Klein–Gordon equation in the Riemann spaces obtained by the methods of path-integration. This equation in the present fiber bundle reduces to the equation for a Weyl spinor, which is close to but differs somewhat from the squared Dirac equation. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical (...) arguments, historical discussion, empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

This book has been conceived from a series of speeches which took place during the Filmforum Festival of Udine and Gorizia whose main theme was the use of moving images in the space of contemporary art. The aim of this publication is to create a scientific framework of some of the most important artistic experiences: from the use of archive images to the newest participatory practices. The book consists of essays selected during the Filmforum Festival and the MAGIS International (...) Film Studies Spring School and texts from invited researchers. It examines the ways in which the transient qualities of time have been used in contemporary moving images production and in their display. (shrink)

In this study, we investigate the expression of speed—one of the principal dimensions of manner—in relation to the expression of space in Estonian, a satellite-framed and morphology-rich language. Our multivariate and extensive corpus analysis is informed by asymmetries attested in languages with regard to expressing space (thegoal-over-sourcebias) and speed (thefast-over-slowbias) where we attempt to explicitly link the two. We demonstrate moderate speed effects in the data in that fast motion verbs tend to combine with Goal, and slow (...) motion verbs with Location and Trajectory expressions, making verbs of fast motion similar to goal verbs in their clausal behaviour. We also show that semantic congruency (i.e., expressing semantic information repeatedly in motion clauses) overrides thegoal-over-sourcebias. That is, although verbs also occur in diverse patterns, they often combine with semantic units that mirror their meaning: goal verbs tend to combine with Goal, source verbs with Source, and manner verbs with Manner expressions. Such semantic congruency might serve as a tool for construal and, thus, is an important issue for future research. (shrink)

Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...) variability within a language can be explained by specific properties of the events. This event-properties account predicts that descriptions of one and the same event should be consistent within a language, even in languages where there is overall variability in the use of syntactic frames. Spanish and Swedish speakers (N= 84) described 32 caused motion events. While the most frequent syntactic framing in each language was as expected based on typology (Spanish: verb-framed, Swedish: satellite-framed, cf. Talmy,2000), Swedish descriptions were substantially more consistent than Spanish descriptions. Swedish speakers almost invariably encoded all events with a single syntactic frame and systematically conveyed manner of motion. Spanish descriptions, in contrast, varied much more regarding syntactic framing and expression of manner. Crucially, variability in Spanish descriptions was not mainly a function of differences between events, as predicted by the event-properties account. Rather, Spanish variability in syntactic framing was driven by speaker biases. A similar picture arose for whether Spanish descriptions expressed manner information or not: Even after accounting for the effect of syntactic choice, a large portion of the variance in Spanish manner encoding remained attributable to differences among speakers. The results show that consistency in motion event encoding starkly differs across languages: Some languages (like Swedish) bias their speakers toward a particular linguistic event schema much more than others (like Spanish). Implications of these findings are discussed with respect to the typology of event framing, theories on the relationship between language and thought, and speech planning. In addition, the tools employed here to quantify variability can be applied to other domains of language. (shrink)

Introduction. Flesh and its reversibility ; Defining the baroque ; 'Good looking' ; A cinema of baroque flesh -- 1. Flesh, cinema and the baroque : the aesthetics of reversibility. Baroque vision and painting the flesh ; Baroque flesh ; Analogous embodiments : the film's body ; Baroque vision and cinema ; Summation : face to face-feeling baroque deixis -- 2. Knots of sensation : co-extensive space and a cinema of the passions. Synaesthesia, phenomenology, and the senses ; Cinesthesia (...) and the Bel composto ; A passionate baroque : emotion, excess, and co-extensive space ; Assault and absorption : cruel baroque ; Summation : beside oneself -- 3. Baroque skin/semiotics. Chiasm : language and experience ; Baroque poetic language and the seventeenth-century infinite ; Baroque luxury ; Skin-deep : baroque texturology ; Tickles : baroque wit ; Summation : cine-mimesis -- 4. One hand films the other : baroque haptics. Touching-touched ; Haptic visuality and the baroque ; Baroque haptics and cinema ; Analogical assemblages : Baroque databases ; Summation: TEXXTURE -- Conclusion : or the baroque 'Beauty of the act'. (shrink)

Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, Cinema's Bodily Illusions demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema's power to evoke illusions: feeling like you're flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema (...) is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers' embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad's The Flicker, eerie depth effects in Marcel Duchamp's Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick's 2001, Godfrey Reggio's Koyaanisqatsi, and Alfonso Cuarón's Gravity. In doing so he combines insights from Maurice Merleau-Ponty's phenomenology of perception and James J. Gibson's ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema's perceptual, rather than representational, power. Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema's death or irrelevance, Richmond demonstrates that cinema's proprioceptive aesthetics make it an urgent site of contemporary inquiry. (shrink)

Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...) pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.Keywords: Norbert Elias; Marcel Mauss; Joseph Roth; Cinema; Gestures; Body; Discourse; Historiography; Sociology of culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

Welche Relevanz haben Raum und Räumlichkeit in den verschiedenen Disziplinen und Wissensgebieten? Auf diese gegenwärtig stark diskutierte Frage, deren Beantwortung nicht selten in interdisziplinäre Grundsatzdebatten mündet, versuchen die hier versammelten Beiträge eine konstruktive Antwort zu geben. In detaillierten Einzeldarstellungen, geordnet nach Forschungsfeldern, die von der Ästhetik und der Architektur über die Musikwissenschaft und die Mathematik bis hin zur Physik und Theologie reichen, wird der gegenwärtige Stand der Überlegungen und Methoden jeweils kritisch rekapituliert und mittels konkreter Fallanalysen veranschaulicht. Entstanden ist ein (...) Kompendium, das umfassend über die gegenwärtige Forschungslage der Raumtheorie in ihren vielfältigen Anwendungsgebieten informiert. (shrink)

When the German mathematician Hermann Minkowski first introduced the space-time diagrams that came to be associated with his name, the idea of picturing motion by geometric means, holding time as a fourth dimension of space, was hardly new. But the pictorial device invented by Minkowski was tailor-made for a peculiar variety of space-time: the one imposed by the kinematics of Einstein’s special theory of relativity, with its unified, non-Euclidean underlying geometric structure. By plo tting two or (...) more reference frames in relative motion on the same picture, Minkowski managed to exhibit the geometric basis of such relativistic phenomena as time dilation, length contraction or the dislocation of simultaneity. These disconcerting effects were shown to result from arbitrary projections within four-dimensional space-time. In that respect, Minkowski diagrams are fundamentally different from ordinary space-time graphs. The best way to understand their specificity is to realize how productively ambiguous they are. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques--like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators--more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie Darko, Déjà Vu, and (...) adaptations of Philip K. Dick, contributors explore the implications of Hollywood's new movie mind games. (shrink)

This article examines a small subset of late antique veil imagery – depictions and descriptions of veils in motion – in visual and literary sources including churches, synagogues, and descriptions of the veil of the temple in Jerusalem. Architectural veils played a role in the demarcation of space, the creation of spectacle and sacrality, and the orchestration of social relations and hierarchies. By exploring the ways in which late ancient subjects envisioned, encountered, and “thought with” veils, we can (...) chart the ways that dynamics of covering and uncovering, sight and secrecy, and vision and touch, converged with ideas about gender, desire, and the sacred. (shrink)

"Die Begriffe Raum und Zeit stellen massgebliche Propositionen des Denkens von Wirklichkeit dar. Sie gelten als Grundvoraussetzung allen ontologischen und epistemologischen Denkens. Während beide Begriffe in Europa als absolut gedacht wurden und somit zur Schaffung von Differenz beigetragen haben, hat es in China weder eine Trennung noch eine Absolutsetzung beider gegeben. Dieser Band vereint Beiträge aus unterschiedlichen disziplinären Positionen, die aus ihren jeweiligen Perspektiven die Zusammenhänge von Zeit, Raum und Wirklichkeit(en) in China untersuchen."--Back cover.

The concept of time is examined using the second law of thermodynamics that was recently formulated as an equation of motion. According to the statistical notion of increasing entropy, flows of energy diminish differences between energy densities that form space. The flow of energy is identified with the flow of time. The non-Euclidean energy landscape, i.e. the curved space–time, is in evolution when energy is flowing down along gradients and levelling the density differences. The flows along the (...) steepest descents, i.e. geodesics are obtained from the principle of least action for mechanics, electrodynamics and quantum mechanics. The arrow of time, associated with the expansion of the Universe, identifies with grand dispersal of energy when high-energy densities transform by various mechanisms to lower densities in energy and eventually to ever-diluting electromagnetic radiation. Likewise, time in a quantum system takes an increment forwards in the detection-associated dissipative transformation when the stationary-state system begins to evolve pictured as the wave function collapse. The energy dispersal is understood to underlie causality so that an energy gradient is a cause and the resulting energy flow is an effect. The account on causality by the concepts of physics does not imply determinism; on the contrary, evolution of space–time as a causal chain of events is non-deterministic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Causation Debate in Modern Philosophy: 1637–1739J. A. CoverKenneth Clatterbaugh. The Causation Debate in Modern Philosophy: 1637–1739. New York and London: Routledge, 1999. Pp. xi + 239. Cloth, $75.00. Paper, $21.00.Over the scholastics and earliest moderns, Hume had an advantage of hindsight in declaring that "There is no question, which on account of its importance, as well as difficulty, has caus'd more disputes both among ancients and modern (...) philosophers, than this concerning the efficacy of causes, or that quality which made them be followed by their effects" (Treatise I.iii.14). Between the scholastics and Hume fell (i) Descartes, (ii) classical mechanists such as Hobbes and Gassendi, (iii) the Cartesians Le Grand and Malebranche, (iv) the explanatory rationalists Spinoza and Leibniz, (v) later experimental mechanists such as Boyle, Rohault and Newton, and (vi) the so-called empiricists Locke and Berkeley. This book presents an accessible and admirably broad overview of the modern debate about causation, without sacrificing serious attention to textual details. With two chapters on (i) and one apiece on (ii) - (vi), Clatterbaugh earns for himself and his reader a helpfully synoptic picture of philosophical shifts in the causation debate in the hundred years separating Descartes' Discourse and Hume's Treatise. By the end of the (modern) day, (1) the four-fold causes of Aristotelian-Scholasticism have given way to efficient causation alone; (2) no pre-existing forms in efficient causes are to be found, nor indeed any substantial active powers whatever; (3) there is no deep sense in which causes communicate reality to effects; (4) necessary connection has gone by the board; (5) divine causation has no place in a natural philosophy of causation. No surprises there, but Clatterbaugh's effort reminds us afresh of the varied and torturous routes to such shifts, helping advanced students better (or newly) appreciate them in the comfortable space of 200 pages.Of those pages, a third are devoted to Descartes and the Cartesians. That's not inappropriate, given the importance and difficulty of Descartes's response to Aristotelian-Scholastic accounts of causation, and its influence on occasionalist sentiments on the Continent. The tenor and value of this book may be illustrated by reflecting on the first of these—a rich and frustrating business, both in Descartes's texts and in Clatterbaugh's book. Suppose we grant Descartes the back of his hand to substantial forms and active formal causes as at best "unexplanatory" (counseling Regius): his "at-least-as-much-reality-in-the-cause-as-in-the-effect" principle might be treated as the basis of "an alternative" metaphysical account of causation (19-32). Well, it might be so-treated: but three versions of the principle later, the reader will be excused for judging it little more than a necessary condition for some event-pair x,y counting as a cause-effect pair. If the scholastic appeal to active forms is unexplanatory, then Descartes's [End Page 600] principle—which isn't Descartes's principle at all but a scholastic commonplace—can scarcely fill the explanatory gap. Glossed as a predictable consequence of some strong form of influxus physicus, it is embarrassed by Foucher's objection (that mind bears no likeness to body) and by the weight of texts urging that accidents are individual to their bearers. Having offered us no deep metaphysical story about what in the world answers to 'vis,' Descartes is at best a bungling "interactionist" (here appropriating Clatterbaugh's word for someone whose apparent talk of secondary causes we are asked to respect as expressing a strict and considered philosophical commitment). One can only side with Voetius in reckoning Descartes's replacement of forms by purely quantitative, mechanical principles of motion as expressing a mere "disposition of the movable to move... not an activity of an efficient cause, but merely a necessary condition and a causa sine qua non" (my emphasis: Selectarum Disputationum I [1648-59], 873). Descartes has no deep theory about the nature of causation.Is that too harsh? Had this book a different target, one could fairly complain that the author too infrequently steps away from the texts and commentators to offer and defend a... (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This useful anthology comprises seventy-nine selections arranged under three headings. Part I is titled "Ancient and Classical Ideas of Space"; part II, "The Classical and Ancient Concepts of Time"; part III, "Modern Views of Space and Time and their Anticipations." According to the general editors of the Boston series, R. S. Cohen and Marx W. Wartofsky, Capek’s choice of contents was governed by the desire to show that "parts of our view of nature greatly and mutually influence other (...) parts, and that our conception of the world keeps evolving. Thus, ideas of time intertwine with ideas of space, and both with ideas of matter and force." F. M. Cornford’s essays, "The Invention of Space" and "The Elimination of Time by Parmenides," introduce parts I and II respectively. In part I, while Descartes, Pascal, Gassendi, Newton, etc., speak for themselves, the ancients and medievals are given other mouthpieces—Duhem’s monumental Le système du monde, for Plato, Aristotle, and the medievals; C. Bailey, for Leucippus, Epicurus and Lucretius; Koyré, Höffding, Jammer, for the period from Bradwardine to William Gilbert. On the subject of time, however, both ancient and classical authors are allowed to express their opinions in their own words, with the understandable exception of the Stoics. Part III begins with the prerelativistic critique of Newton as well as the well-known Clarke-Leibniz discussion on the nature of space and time. This third part, however, is dominated largely by the implications of Einstein’s general and special relativity theories. For instance, we have Minkowski’s "Union of Space and Time." Four items, at least, are devoted to the twin-paradox. Some argue for a static, subjective, or even idealistic conception of space-time whereas positivists like Frank attack Sir James Jeans’ and other idealistic interpretations of relativity as instances of meaningless metaphysics. Part III concludes with Weyl’s objectivistic interpretation of quantum-mechanical indeterminacy. While it is difficult to find an anthology that will please all readers or teachers, this work goes far towards dealing comprehensively with the subject of space and time. As Cohen and Wartofsky note, what is distinctive of Capek’s approach within the field of philosophy of nature and its history is that "he is greatly appreciative of Bergson, James, Peirce and Whitehead" and though influenced by them, he is also critical because of the "understanding of the philosophical import that contemporary physics brings into our picture of the world." In a lengthy introduction, the editor explains his rationale for each item he includes. In general this is very helpful, but in some instances the suggested historical connections are misleading at best, if not simply false or questionable. Einstein for instance is said to have "rejected any absolute frame of reference which would be a substrate of absolutely simultaneous events... within the context of Michelson’s vain search for the absolute motion of the earth." This seems to imply—as many others have claimed—that the negative results of the ether-drift experiment influenced Einstein in formulating his relativity theory, whereas historians have pointed out that if Einstein referred to the experiment, it would have to be as a confirmation of his theory, since he did not learn of the results obtained by Michelson and Morley until after the publication of his revolutionary paper in 1905. Though there are other generalizations in the introduction which might be open to dispute, Capek’s prefatory remarks are in general helpful, and the essay collection as a whole stands on its own feet. It is valuable, if for no other reason, that a number of the selections appear in English translation for the first time.—A.B.W. (shrink)

Introduction: acts, film, religion: context and perspectives -- Constituting a figure of an activist citizen -- I act therefore I am -- I create therefore I am: towards the cinema of act -- Constructing activism through film: creation of new scene -- Creation of space unbroken links between the citizens: Ana Arabia -- Acts of citizenship and the foreign "other": circles -- Enacting (European) citizenship through film: Inferno -- Creating a rupture: Wadjda -- Conclusion: creative acts, transformation and activist (...) citizens. (shrink)

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges (...) of our seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

In this paper, we use motion tracking technology to document the birth of a brand new language: Nicaraguan Sign Language. Languages are dynamic entities that undergo change and growth through use, transmission, and learning, but the earliest stages of this process are generally difficult to observe as most languages have been used and passed down for many generations. Here, we observe a rare case of language emergence: the earliest stages of the new sign language in Nicaragua. By comparing the (...) signing of the oldest and youngest signers of Nicaraguan Sign Language, we can track how the language itself is changing. Using motion tracking technology, we document a decrease in the size of articulatory space of Nicaraguan Sign Language signers over time. The reduction in articulatory space in Nicaraguan Sign appears to be the joint product of several decades of use and repeated transmission of this new language. (shrink)

Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature’s images and philosophy; and film rejects theatre, while also fulfilling theatre’s dream. Built on these contradictions, the cinema is the real, material space in which one is moved by (...) the spectacle of shadows. Thus, for Rancière, film is the perpetually disappointed dream of a language of images. (shrink)