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Switch to: Citations
References in:
Heidegger and the romantics: the literary invention of meaning
New York: Routledge (2012)
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Animate vision systems have gaze control mechanisms that can actively position the camera coordinate system in response to physical stimuli. Compared to passive systems, animate systems show that visual computation can be vastly less expensive when considered in the larger context of behavior. The most important visual behavior is the ability to control the direction of gaze. This allows the use of very low resolution imaging that has a high virtual resolution. Using such a system in a controlled way provides (...) |
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When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) |
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The everyday concept of a social group is approached by examining the concept of going for a walk together, an example of doing something together, or "shared action". Two analyses requiring shared personal goals are rejected, since they fail to explain how people walking together have obligations and rights to appropriate behavior, and corresponding rights of rebuke. An alternative account is proposed: those who walk together must constitute the "plural subject" of a goal. The nature of plural subjecthood, the thesis (...) |
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In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments ENJOYING NEGATIVE EMOTIONS IN FICTIONS by John Morreall There is a puzzle going back to Aristotle and Augustine that has sometimes been called the "paradox of tragedy": how is it that nonmasochistic, nonsadistic people are able to enjoy watching or reading about fictional situations which are filled with suffering? The problem here actually extends beyond tragedy to our enjoyment of horror films and other fictional depictions (...) |
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This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work. |
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"Man in the Landscape" was among the first books of a new genre that has elucidated the ideas, beliefs, and images that lie behind our modern destruction and ... |
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Perhaps the most important work of philosophy written in the twentieth century, the Tractatus Logico-Philosophicus first appeared in 1921 and was the only philosophical work that Ludwig Wittgenstein (1889-1951) published during his lifetime. Written in short, carefully numbered paragraphs of extreme compression and brilliance, it immediately convinced many of its readers and captivated the imagination of all. Its chief influence, at first, was on the Logical Positivists of the 1920s and 30s, but many other philosophers were stimulated by its philosophy (...) |
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That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) |
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This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of the performer (...) |
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Like many environmental philosophers, I find the idea that the beauty of wildernesses makes them valuable in their own right and gives us a moral duty to preserve and protect them to be attractive. However, this appeal to aesthetic value encounters a number of serious problems. I argue that these problems can best be met and overcome by recognizing that the appreciation of natural environments and the appreciation of great works of arts are activities more similar than many people have (...) |
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ABSTRACT What have natural aesthetics and environmentalism in common? Not much if the former deals with nature as if it were an artwork or a gallery of art objects, or if the latter grounds the protection of nature in consequentialist terms. Suppose, however, one adopts a non-consequentialist environmentalism which, further, stakes out a primary view of nature as terrain rather than as habitat; i.e., a view which is not biocentric (life-centred), let alone anthropocentric. This environmentalism is rooted in the belief (...) |
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Is there anything peculiarly "photographic" about photography—something which sets it apart from all other ways of making pictures? If there is, how important is it to our understanding of photographs? Are photographs so unlike other sorts of pictures as to require unique methods of interpretation and standards of evaluation? These questions may sound artificial, made up especially for the purpose of theorizing. But they have in fact been asked and answered not only by critics and photographers but by laymen. Furthermore, (...) |
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Contemporary literary theorists of the deconstructionist bent have often complained about a gulf between philosophy and literary criticism, and they have issued plaintive pleas to bring the two disciplines into closer contact, even if not into complete union. Thus Geoffrey Hartman in his famous deconstructionist manifesto complains: “The separation of philosophy from literary study has not worked to the benefit of either…. If there is the danger of a confusion of realms, it is a danger worth experiencing.”. |
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