Results for 'pictorial style'

966 found
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  1. Feynman's Diagrams, Pictorial Representations and Styles of Scientific Thinking.Dorato Mauro & Emanuele Rossanese - 2017
    In this paper we argue that the different positions taken by Dyson and Feynman on Feynman diagrams’ representational role depend on different styles of scientific thinking. We begin by criticizing the idea that Feynman Diagrams can be considered to be pictures or depictions of actual physical processes. We then show that the best interpretation of the role they play in quantum field theory and quantum electrodynamics is captured by Hughes' Denotation, Deduction and Interpretation theory of models (DDI), where “models” are (...)
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  2. Pictorial Space throughout Art History: Cezanne and Hofmann. How it models Winnicott's interior space and Jung's individuation.Maxson J. McDowell - manuscript
    Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book (...)
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  3. Visual Style Hermeneutics: From Style to Context.Jakub Stejskal - 2021 - World Art 11 (2):201-227.
    This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes (...)
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  4. Perceptual constraints and perceptual schemata: The possibility of perceptual style.Jennifer A. McMahon - 2003 - Journal of Aesthetics and Art Criticism 61 (3):259–273.
    <The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my purposes here, (...)
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  5. Effects of Asian cultural values on parenting style and young children’s perceived competence: A cross-sectional study.Eunice Pui-Yu Yim - 2022 - Frontiers in Psychology 13:905093.
    Authoritarian parenting has long been associated with Western individualism and improved child development. This study examined the relationship between cultural values, parenting styles, and children’s perceived competence in Hong Kong. A total of 48 parents from local Chinese families, 49 parents from South Asian families, and 105 children (24 local Chinese and 81 South Asian) aged 5–6 years participated in the study. Self-report questionnaires on adherence to Asian cultural values and parenting style were administered to parents. The Pictorial (...)
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  6. Beyond Resemblance.Gabriel Greenberg - 2013 - Philosophical Review 122 (2):215-287.
    What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it (...)
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  7. Intensionality and propositionalism.Kristina Liefke - forthcoming - Annual Review of Linguistics:4.1-4.21.
    Propositionalism is the view that all intensional constructions (including nominal and clausal attitude reports) can be interpreted as relations to truth-evaluable propositional content. While propositionalism has long been silently assumed in semantics and the philosophy of language, it has only recently entered center stage in linguistic research. This article surveys the properties of intensional constructions, which require the introduction of fine-grained semantic values (intensions). It contrasts two ways of obtaining such values: through the introduction of either Russellian propositions or Frege-Church- (...) senses. The article identifies propositionalism with a specific variant of the Russellian strategy, reviews key arguments for propositionalism, and compares familiar varieties of propositionalism on the basis of instructive examples. It closes by discussing various challenges for propositionalism and suggesting a generalization of propositionalism that meets some of these challenges. Because of the association of propositions with semantic information, the article also addresses the more general question of whether all information content (including mental and pictorial content) is propositional. (shrink)
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  8. Sense and Reference of Pictures.Maarten Steenhagen - 2020 - British Journal of Aesthetics (1):1-5.
    John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.
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  9. Pictures Have Propositional Content.Alex Grzankowski - 2015 - Review of Philosophy and Psychology 6 (1):151-163.
    Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, (...)
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  10. Cruzeiro Seixas: Weird Corpses andWhy the Portuguese Surrealism Did Not Die.Paulo Alexandre E. Castro - 2023 - European Journal of Fine and Visual Arts 1 (2):1-5.
    Cruzeiro Seixas is one of the main representatives of Portuguese and European surrealism, despite having initially started with neo-realism. Alongside figures such as Mário Cesariny, Carlos Calvet, António Maria Lisboa, Pedro Oom or Mário Henrique Leiria, the artist created a very unique style that allows immediate recognition of his work. If it is true that this recognition depends a lot on the pictorial, stylistic, artistic presentation, it is no less true that this happens due to the permanent use (...)
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  11.  82
    Pictorial Experience.Luca Marchetti - 2024 - International Lexicon of Aesthetics.
    Pictures are created objects that have the function of generating a perceptual experience. In this sense, they are “experiential artifacts” (Terrone forthcoming). The experience elicited by pictures – usually visual (but for non-visual pictorial experience see e.g. Lopes 1997) – is a composite perceptual experience, in which the “perception” of the depicted scene (which is not in front of us) is generated by and experienced along the perception of the marked surface (the object that is actually in front of (...)
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  12. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that (...)
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  13. Inflected Pictorial Experience: Its Treatment and Significance.Robert Hopkins - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford, GB: Oxford University Press. pp. 151.
    Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...)
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  14. Pictorial Representation And Moral Knowledge.Katerina Bantinaki - 2004 - Postgraduate Journal of Aesthetics 1 (2):69-76.
    The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.
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  15. Pictorial (Conversational) Implicatures.Tibor Bárány - 2019 - In Andras Benedek & Kristof Nyiri (eds.), Image and Metaphor in the New Century. pp. 197-208.
    The philosophical problem of pictorial conversational implicatures can be summarized as follows: We have three propositions that are independently plausible and jointly inconsistent. -/- (Non-P) Anti-propositionalism: pictures do not have context-independent, conventionally encoded propositional content (propositional function). -/- (C) Only those representations can be used to convey conversational implicatures which have associated with them a context-independent, conventionally encoded propositional content (function). -/- (I) Pictures can be used to convey conversational implicatures. -/- There are three ways of responding to the (...)
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  16. Shifting perspectives in pictorial narratives.Emar Maier & Sofia Bimpikou - 2018 - In Uli Sauerland & Stephanie Solt (eds.), Proceeding of Sinn und Bedeutung 23. Berlin, Germany: Leibniz-Centre General Linguistics (ZAS).
    We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.
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  17. Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis 86 (4):853-874.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  18. Pictorial implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
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  19. Pictures, pictorial contents and vision.Dominic Gregory - 2010 - British Journal of Aesthetics 50 (1):15-32.
    Certain simple thoughts about pictures suggest that the contents of pictures are closely bound to vision. But how far can the striking features of depiction be accounted for merely in terms of the especially visual contents which belong to pictures, without considering, for example, any issues concerning the nature of the visual experiences with which pictures provide us? This article addresses that question by providing an account of the distinctively visual contents belonging to pictures, and by using that account to (...)
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  20. Semantics of Pictorial Space.Gabriel Greenberg - 2021 - Review of Philosophy and Psychology 1 (4):847-887.
    A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration (...)
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  21. Super Pragmatics of (linguistic-)pictorial discourse.Julian J. Schlöder & Daniel Altshuler - 2023 - Linguistics and Philosophy 46 (4):693-746.
    Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs (...)
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  22. Epistemic Styles.Carolina Flores - 2021 - Philosophical Topics 49 (2):35-55.
    Epistemic agents interact with evidence in different ways. This can cause trouble for mutual understanding and for our ability to rationally engage with others. Indeed, it can compromise democratic practices of deliberation. This paper explains these differences by appeal to a new notion: epistemic styles. Epistemic styles are ways of interacting with evidence that express unified sets of epistemic values, preferences, goals, and interests. The paper introduces the notion of epistemic styles and develops a systematic account of their nature. It (...)
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  23. Scientific styles, plain truth, and truthfulness.Robert Kowalenko - 2018 - South African Journal of Philosophy 37 (3):361-378.
    Ian Hacking defines a “style of scientific thinking” loosely as a “way to find things out about the world” characterised by five hallmark features of a number of scientific template styles. Most prominently, these are autonomy and “self-authentication”: a scientific style of thinking, according to Hacking, is not good because it helps us find out the truth in some domain, it itself defines the criteria for truth-telling in its domain. I argue that Renaissance medicine, Mediaeval “demonology”, and magical (...)
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  24. On Pictorially mediated mind-object relations.Jessica Pepp - 2023 - Inquiry: An Interdisciplinary Journal of Philosophy 66 (2):246-274.
    When I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are the links between me and particular worldly trees when I see them in photographs, or in paintings? Are they, in some important sense, links of the same kind? Or are they links of importantly different kinds? Or, as a third possibility, are they at once (...)
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  25. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...)
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  26. Thought styles and paradigms—a comparative study of Ludwik Fleck and Thomas S. Kuhn.Nicola Mößner - 2011 - Studies in History and Philosophy of Science Part A 42 (2):362–371.
    At first glance there seem to be many similarities between Thomas S. Kuhn’s and Ludwik Fleck’s accounts of the development of scientific knowledge. Notably, both pay attention to the role played by the scientific community in the development of scientific knowledge. But putting first impressions aside, one can criticise some philosophers for being too hasty in their attempt to find supposed similarities in the works of the two men. Having acknowledged that Fleck anticipated some of Kuhn’s later theses, there seems (...)
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  27. Artistic Style as the Expression of Ideals.Robert Hopkins & Nick Riggle - 2021 - Philosophers' Imprint 21 (NO. 8):1-18.
    What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: (...)
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  28. Personal Style and Artistic Style.Nick Riggle - 2015 - Philosophical Quarterly 65 (261):711-731.
    What is it for a person to have style? Philosophers working in action theory, ethics, and aesthetics are surprisingly quiet on this question. I begin by considering whether theories of artistic style shed any light on it. Many philosophers, artists, and art historians are attracted to some version of the view that artistic style is the expression of personality. I clarify this view and argue that it is implausible for both artistic style and, suitably modified, personal (...)
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  29. How Pictorial is Chinese? And Does it Matter?Christian Helmut Wenzel - 2010 - Contributions of the Austrian Ludwig Wittgenstein Society 18:317-319.
    It has often been said that the Chinese script is pictorial or ideographic, and that this is one of the reasons why Chinese tend to think more analogically than logically, and why in the past the natural sciences developed to a lesser degree in China than in the West. These are strong claims. They have often been oversimplified and exaggerated, but I think there is something to be said for them. Here I will focus on the first question. I (...)
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  30. Styles of Reasoning, Human Forms of Life, and Relativism.Luca Sciortino - 2016 - International Studies in the Philosophy of Science 30 (2):165-184.
    The question as to whether Ian Hacking’s project of scientific styles of thinking entails epistemic relativism has received considerable attention. However, scholars have never discussed it vis-à-vis Wittgenstein. This is unfortunate: not only is Wittgenstein the philosopher who, together with Foucault, has influenced Hacking the most, but he has also faced the same accusation of ‘relativism’. I shall explore the conceptual similarities and differences between Hacking’s notion of style of thinking and Wittgenstein’s conception of form of life. It is (...)
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  31. Pictorial syntax.Kevin J. Lande - 2024 - Mind and Language 39 (4):518-539.
    It is commonly assumed that images, whether in the world or in the head, do not have a privileged analysis into constituent parts. They are thought to lack the sort of syntactic structure necessary for representing complex contents and entering into sophisticated patterns of inference. I reject this assumption. “Image grammars” are models in computer vision that articulate systematic principles governing the form and content of images. These models are empirically credible and can be construed as literal grammars for images. (...)
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  32. Objective Styles in Northern Field Science.Jeff Kochan - 2015 - Studies in History and Philosophy of Science Part A 52:1-12.
    Social studies of science have often treated natural field sites as extensions of the laboratory. But this overlooks the unique specificities of field sites. While lab sites are usually private spaces with carefully controlled borders, field sites are more typically public spaces with fluid boundaries and diverse inhabitants. Field scientists must therefore often adapt their work to the demands and interests of local agents. I propose to address the difference between lab and field in sociological terms, as a difference in (...)
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  33. Frankfurt-Style Cases User Manual: Why Frankfurt-Style Enabling Cases Do Not Necessitate Tech Support.Florian Cova - 2014 - Ethical Theory and Moral Practice 17 (3):505-521.
    ‘Frankfurt-style cases’ (FSCs) are widely considered as having refuted the Principle of Alternate Possibilities (PAP) by presenting cases in which an agent is morally responsible even if he could not have done otherwise. However, Neil Levy (J Philos 105:223–239, 2008) has recently argued that FSCs fail because we are not entitled to suppose that the agent is morally responsible, given that the mere presence of a counterfactual intervener is enough to make an agent lose responsibility-grounding abilities. Here, I distinguish (...)
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  34. Coping Styles and Its Relationship to the Personality Traits of College Students (9th edition).Axle Nicandro, Lara Alliah Cabales, Jhon Joshua Del Rosario, Dela Cruz, Jahna, Benjamin Clidoro, Angela Bilan & Jhoselle Tus - 2023 - Psychology and Education: A Multidisciplinary Journal 10 (9):950-955.
    This study investigates the relationship between personality traits and coping styles among college students in private higher educational institution. Hence, employing correlational design to assess the relationship between coping styles and personality of 150 college students. The statistical analysis reveals that the r coefficient of 0.54 indicates a moderate positive correlation between the variables. The p-value of 0.00, which is less than 0.05, leads to the decision to reject the null hypothesis. Hence, a significant relationship exists between coping style (...)
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  35. Biopower, Styles of Reasoning, and What's Still Missing from the Stem Cell Debates.Shelley Tremain - 2010 - Hypatia 25 (3):577 - 609.
    Until now, philosophical debate about human embryonic stem cell (hESC) research has largely been limited to its ethical dimensions and implications. Although the importance and urgency of these ethical debates should not be underestimated, the almost undivided attention that mainstream and feminist philosophers have paid to the ethical dimensions of hESC research suggests that the only philosophically interesting questions and concerns about it are by and large ethical in nature. My argument goes some distance to challenge the assumption that ethical (...)
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  36. The Incommensurability of Styles of Reasoning: The Case of the Existence of Theoretical Entities.Luca Sciortino - 2023 - In History of Rationalities: Ways of Thinking from Vico to Hacking and Beyond. New York: Palgrave Macmillan. pp. 271-302.
    In this chapter I shall address the question as to whether there exists a universal and atemporal justification for the claims made by a community that adopts a particular style of reasoning. I shall present a case study in which a claim made in the laboratory style of reasoning has no universal and atemporal justification. As I shall explain, Hacking justifies his belief that unobservable entities exist on the ground that they can be regularly manipulated by experimenters in (...)
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  37. The Cognitive Style as a Factor in the Development of Tourism and Hospitality Companies.Oleksandr Krupskyi - 2015 - Problems of Economy 2:140-146.
    The aim of the article is to identify the impact of cognitive style of management on the development of tourism and hospitality companies. The article discusses some approaches to the definition of “cognitive style”, presents the author’s understanding in the organizational context, namely, the cognitive style should be understood as the features of awareness, interpretation and dissemination of external and internal information by the staff in order to improve the efficiency and competitiveness of the products manufactured. The (...)
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  38. Influence of Style of Leadership onto the Characteristic Features of the Organizational Culture of Tourism Enterprises.Oleksandr Krupskyi - 2015 - Business Inform 8:253-260.
    The article is aimed to identify the influence of style of leadership onto the characteristic features of the organizational culture of tourism enterprises. A detailed analysis of the scientific literature about leadership styles has been conducted, wherein some peculiarities of their implementation in the tourism enterprises of Ukraine has been disclosed. The integrated definition of leadership has been updated in view of the current socio-economic conditions. Role of style of leadership as a determinant for type of organizational culture (...)
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  39. The Realistic Angel: Pictorial Realism as Hypothetical Verity.Christopher Buckman - 2015 - Aesthetic Investigations 1 (1):49-58.
    My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case (...)
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  40. Expression-Style Exclusion.Eric Bayruns Garcia - 2019 - Social Epistemology 33 (3):245-261.
    I describe a phenomenon that has not yet been described in the epistemology literature. I label this phenomenon expression-style exclusion. Expression-style exclusion is an example of how s...
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  41. Two‐Dimensional Versus Three‐Dimensional Pictorial Organization.Bence Nanay - 2015 - Journal of Aesthetics and Art Criticism 73 (2):149-157.
    I want to differentiate between two very different ways of organizing pictorial elements at a very abstract level: -/- (2D) two-dimensionally: pictorial elements are organized and grouped according to their outline shape on the picture surface and (3D) three-dimensionally: pictorial elements are organized and grouped according to their position in the depicted space. -/- Suppose you need to depict seven identical spheres. On the most general level, there are two ways of doing this: you can arrange the (...)
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  42. Libet-style experiments, neuroscience, and libertarian free will.Marcelo Fischborn - 2016 - Philosophical Psychology 29 (4):494-502.
    People have disagreed on the significance of Libet-style experiments for discussions about free will. In what specifically concerns free will in a libertarian sense, some argue that Libet-style experiments pose a threat to its existence by providing support to the claim that decisions are determined by unconscious brain events. Others disagree by claiming that determinism, in a sense that conflicts with libertarian free will, cannot be established by sciences other than fundamental physics. This paper rejects both positions. First, (...)
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  43. Individual Style After The End Of Art.Regina Wenninger - 2005 - Postgraduate Journal of Aesthetics 2 (3):105-115.
    In The Transfiguration of the Commonplace (1981)1 Arthur Danto construes individual style as something “given” that belongs to the artist “essentially” and “inseparably.” By contrast, his theory of the end of art, set forth in After the End of Art (1997) and elsewhere,2 suggests the liberation of artists from any stylistic commitments. How do these two theories go together? Can there be individual styles after the end of art? Examining the compatibility between Danto’s end of art thesis and his (...)
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  44. Pictorial orientation matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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  45. Style Types Theory and Practice in Linguistic Stylistics.William Hendricks - 1981 - Poetica, Interenational Journal Of 12 (1):45-59.
    Rather than an emphasis on style as unique to an author, this study argues for the notion of group styles. Three are proposed: tight, loose, and balanced. Examples of each type are illustrated.
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  46. Epistemic style in OCD.Carolina Flores - 2023 - Philosophy, Psychiatry, and Psychology 30 (2):147-150.
    Commentary on Pablo Hubacher Haerle’s paper “Is OCD Epistemically Irrational?”. I argue for expanding our assessment of rationality in OCD by considering a wider range of epistemic parameters and how they fit together.
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  47. Frankfurt Style Examples.James Cain - 2003 - Southwest Philosophy Review 19 (1):221-229.
    Frankfurt style examples (FSEs) have played an important role in the development of metaphysical accounts of moral agency. The legitimacy of this approach often requires that FSEs be metaphysically possible. I argue that, given our current knowledge of the nature of decision-making, we have no grounds to accept the metaphysical possibility of many standard FSEs involving a device that can be triggered to bring about a predetermined decision.
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  48. Ian Hacking's Styles of Reasoning, Contingency and the Evolution of Science.Luca Sciortino - 2023 - In History of Rationalities: Ways of Thinking from Vico to Hacking and Beyond. New York: Palgrave Macmillan. pp. 350.
    In this chapter, I shall consider a number of connections between various ideas of the theory of styles of reasoning and the issue of the contingency and inevitability of science. By ‘contingency issue’ it is meant the question as to whether the history of a particular branch of our science could have taken a different route and provided results incompatible with those of our actual science. Apart from Hacking’s recent comments, the discussions on the contingency issue have not involved the (...)
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  49. LEADERSHIP STYLE, POLICING AND PERCEPTION OF CORRUPTION: A COMPARATIVE PRELIMINARY STUDY WITHIN THE NIGERIA POLICE FORCE.Felix Akinwumi Orole - 2014 - Psychosociological Issues in Human Resource Management 2.
    The connection between leadership style, on the one hand, policing and perception of corruption, on the other hand, has received little attention in the literature on leadership theory and organizational processes. Hence, the aim of this study is to examine the relationship between transformational leadership and perception of corruption within the police institution, especially in this instance, the Nigeria Police Force. Based on a sampling process of cross sectional approach, the data were collected by administering questionnaires on 156 respondents (...)
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  50. Humour in Nietzsche's style.Charles Boddicker - 2020 - European Journal of Philosophy 29 (2):447-458.
    Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophical (...)
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