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  1. Mental imagery.Nigel J. T. Thomas - 2001 - Stanford Encyclopedia of Philosophy.
    Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought (...)
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  • Franz Boas and the Primacy of Form.Bence Nanay - 2024 - British Journal of Aesthetics 64 (3):381-395.
    There is systematic epistemic asymmetry between different centers of art production: we know far more about some (e.g. fifteenth-century Italian paintings) than about others (e.g. fifteenth-century Inca textiles). As long as we are focusing on the social context of the artworks or the artist’s intention, this epistemic asymmetry remains, given that we have vastly more information about the social context of the artworks or the artist’s intention when it comes to ‘Western’ art—again, because of the historically contingent differences in record-keeping (...)
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  • (1 other version)The «Musicalisezd Image»: A Joint Aesthetic of Music and Image in Film.Josep Torelló Oliver & Josephine Swarbrick - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):165-175.
    Despite traditionally having been studied within the field of Musicology, the analysis of music in film should be approached as an aesthetic study of the relationship between «image» and «music» which is central to the cinematographic framework. From this interdisciplinary perspective numerous theoretical and methodological issues emerge. The aim of this article is to investigate, using both a synchronic and diachronic focus, some of the key issues arising from this joint music-image approach, in an attempt to develop a theoretical framework (...)
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  • The Aesthetic Of Failure: Net Art Gone Wrong.Michele White - 2002 - Angelaki 7 (1):173-194.
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  • Change, Horizon, and Event in Ozu's Late Spring.Tyler Parks - 2016 - Film-Philosophy 20 (2-3):283-302.
    Over the decades, the films of Yasujirō Ozu have inspired a number of contradictory responses from film critics and theorists. Initially, formal aspects of his work, which Western commentators found difficult to comprehend in relation to the thematic dimensions of the films, were often said to reflect aesthetic and philosophical principles associated with Zen Buddhism. Like the recurrence of plots that explore the transformations of the Japanese family, many formal attributes of Ozu's films were assumed to express various ideas related (...)
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  • (1 other version)Boundary extension as mental imagery.Bence Nanay - 2022 - Analysis 81 (4):647-656.
    When we remember a scene, the scene’s boundaries are wider than the boundaries of the scene we saw. This phenomenon is called boundary extension. The most important philosophical question about boundary extension is whether it is a form of perceptual adjustment or adjustment during memory encoding. The aim of this paper is to propose a third explanatory scheme, according to which the extended boundary of the original scene is represented by means of mental imagery. And given the similarities between perception (...)
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