Standard philosophical studies on picture perception usually investigated the peculiar nature of pictorial experience and the way aesthetic appreciation can be generated during this experience. Recently, however, the philosophical literature has also focused on a new aspect of picture perception: the possible involvement that the visual states related to action processing may actually play in pictorial experience. But this role has been studied only in relation to the understanding of the nature of pictorial experience, qua visual experience. This paper offers some preliminar speculation, which may guide future research, on the role of action in aesthetic appreciation of pictures.
{"title":"Motoric Understanding and Aesthetic Appreciation","authors":"G. Ferretti","doi":"10.30687/jolma/2723-9640/2021/01/007","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/007","url":null,"abstract":"Standard philosophical studies on picture perception usually investigated the peculiar nature of pictorial experience and the way aesthetic appreciation can be generated during this experience. Recently, however, the philosophical literature has also focused on a new aspect of picture perception: the possible involvement that the visual states related to action processing may actually play in pictorial experience. But this role has been studied only in relation to the understanding of the nature of pictorial experience, qua visual experience. This paper offers some preliminar speculation, which may guide future research, on the role of action in aesthetic appreciation of pictures.","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125171256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It’s inspiring, a spiral. Even more so when there isn’t just one: when spirals proliferate, manifest themselves, wander, seek openings. This moves the mind, excites it, sets it in motion – and never in a straight line, of course. A child of two and a half years, who also loves soap bubbles (especially when there are many of them and of all sizes), takes a soft lead pencil and, on a sheet of paper, twirls his hand: messy spirals. Graphic emotions. Laughter breaks out at every turn. How beautiful! It always comes back (repetition), but it’s never the same (difference). It bursts with rhythms which are generated by a continuum (a single line for multiple turns) and yet are modulated, taking some risks, and are dissimilar to one another: wide lines here and narrow ones there; emphatic strokes or relaxed gestures; overcrowded spaces (mostly at the center of the vortex) or empty spaces (mostly along the edges). It is a real dance whose outline the paper records, like a seismograph. The movement – of rotation – is undoubtedly very simple. But, merely by virtue of the fact that it varies slightly, constantly surprising itself – becoming wider or narrower, stronger or lighter – the result will be complex, potentially infinite in its diversity. A whole world is created through the countless actual variations of the hand, the emotional variations of the gaze. A whole world of forms that Henri Michaux knew how to describe so well:
{"title":"Inspired by Spirals","authors":"Georges Didi-Huberman","doi":"10.30687/jolma/2723-9640/2021/01/002","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/002","url":null,"abstract":"It’s inspiring, a spiral. Even more so when there isn’t just one: when spirals proliferate, manifest themselves, wander, seek openings. This moves the mind, excites it, sets it in motion – and never in a straight line, of course. A child of two and a half years, who also loves soap bubbles (especially when there are many of them and of all sizes), takes a soft lead pencil and, on a sheet of paper, twirls his hand: messy spirals. Graphic emotions. Laughter breaks out at every turn. How beautiful! It always comes back (repetition), but it’s never the same (difference). It bursts with rhythms which are generated by a continuum (a single line for multiple turns) and yet are modulated, taking some risks, and are dissimilar to one another: wide lines here and narrow ones there; emphatic strokes or relaxed gestures; overcrowded spaces (mostly at the center of the vortex) or empty spaces (mostly along the edges). It is a real dance whose outline the paper records, like a seismograph. The movement – of rotation – is undoubtedly very simple. But, merely by virtue of the fact that it varies slightly, constantly surprising itself – becoming wider or narrower, stronger or lighter – the result will be complex, potentially infinite in its diversity. A whole world is created through the countless actual variations of the hand, the emotional variations of the gaze. A whole world of forms that Henri Michaux knew how to describe so well:","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129243920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Where Images Make Their Wonder: An Introduction","authors":"A. Cavazzana, F. Ragazzi","doi":"10.30687/jolma/2723-9640/2021/01/001","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/001","url":null,"abstract":"","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"467 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133173223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this article is to defend the narrative potential of depiction against different strands of skepticism that proceed from the lack of temporal order in a single static image: such images, it has been argued, cannot represent the temporal components of narratives – i.e. action(s) and/or causal relations between temporally ordered actions or events. Contemporary philosophers of depiction have strongly challenged the strand of skepticism that focuses on the representation of action(s), but the strand which focuses on the representation of causal relations may seem to be intractable. Yet, I will argue, it rests on a rather partial conception of causation that unduly directs attention to the dimension of time rather than to the dimension of space – the uncontested domain of depiction
{"title":"On the Narrative Potential of Depiction","authors":"K. Bantinaki","doi":"10.30687/jolma/2723-9640/2021/01/005","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/005","url":null,"abstract":"The aim of this article is to defend the narrative potential of depiction against different strands of skepticism that proceed from the lack of temporal order in a single static image: such images, it has been argued, cannot represent the temporal components of narratives – i.e. action(s) and/or causal relations between temporally ordered actions or events. Contemporary philosophers of depiction have strongly challenged the strand of skepticism that focuses on the representation of action(s), but the strand which focuses on the representation of causal relations may seem to be intractable. Yet, I will argue, it rests on a rather partial conception of causation that unduly directs attention to the dimension of time rather than to the dimension of space – the uncontested domain of depiction","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125512001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article demonstrates how images of the Mississippi River presented in European Mississippi. An Anthropocene River project, form knowledge about this region in relation to global challenges of the climate crisis. In the text, I examine visualizations of the river created by the Indigenous artist Andrea Carlson, whose works relate to decolonial methodologies and restore places, communities, beliefs and philosophies eradicated in colonialist practices. Visuality in Carlson’s work isn’t frozen in a place and time, but constitutes a type of social practice in which knowledge is produced. In analysing her works, I take into account their processuality: that, which took place before their creation, what they refer to, what they reveal, and what the process of their creation.
{"title":"Decolonizing Visuality: The Artistic and Social Practices of Andrea Carlson","authors":"Oliwia Olesiejuk","doi":"10.30687/jolma/2723-9640/2021/01/014","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/014","url":null,"abstract":"The article demonstrates how images of the Mississippi River presented in European Mississippi. An Anthropocene River project, form knowledge about this region in relation to global challenges of the climate crisis. In the text, I examine visualizations of the river created by the Indigenous artist Andrea Carlson, whose works relate to decolonial methodologies and restore places, communities, beliefs and philosophies eradicated in colonialist practices. Visuality in Carlson’s work isn’t frozen in a place and time, but constitutes a type of social practice in which knowledge is produced. In analysing her works, I take into account their processuality: that, which took place before their creation, what they refer to, what they reveal, and what the process of their creation.","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121101986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I shall introduce a hermeneutic perspective and photography analyses from visual theory to the debate concerning the status of photographic representation (together with film, as it is based on the photographic method) which continues within Anglo-Saxon aesthetics and analytical aesthetics. I mostly confront Roger Scruton and Gregory Currie’s thoughts on the photograph and its object (source), representation-by-origin and representation-by-use with Gottfried Boehm’s concept of aesthetic nondifferentiation, and Georges Didi-Huberman’s analyses of photographs. This shall allow me to identify the two aspects of photography (independence of an individual object and visual dynamics of an image) which have a significant impact on the status of photography as a representation and on the potential of cinematographic creation as a story told through images.
{"title":"The Visual Power of Photography and Its Status as a Representation","authors":"Katarzyna Weichert","doi":"10.30687/jolma/2723-9640/2021/01/011","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/011","url":null,"abstract":"I shall introduce a hermeneutic perspective and photography analyses from visual theory to the debate concerning the status of photographic representation (together with film, as it is based on the photographic method) which continues within Anglo-Saxon aesthetics and analytical aesthetics. I mostly confront Roger Scruton and Gregory Currie’s thoughts on the photograph and its object (source), representation-by-origin and representation-by-use with Gottfried Boehm’s concept of aesthetic nondifferentiation, and Georges Didi-Huberman’s analyses of photographs. This shall allow me to identify the two aspects of photography (independence of an individual object and visual dynamics of an image) which have a significant impact on the status of photography as a representation and on the potential of cinematographic creation as a story told through images.","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123067703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers the productive inadequacy of image for contemporary painting. The mutability of image is tested against the material, spatial and durational conditions of painting, and the attentional attachments it might mobilize through an examination of the working methods of Beth Harland, Jacqueline Humphries and R.H.Quaytman. Painting is not positioned as image, but as a processor of image information, able to prompt an image response, A resistance to image is framed by the art historical and philosophical legacy of image expectations and preclusions that each artist feels compelled to work against, and the expanding opticality of our contemporary social, cultural and economic interactions.
{"title":"The Productive Inadequacy of Image for Contemporary Painting\u0000 Image Based Operations in the Work of Beth Harland, Jacqueline Humphries and R.H. Quaytman","authors":"M. Derby","doi":"10.30687/jolma/2723-9640/2021/01/012","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/012","url":null,"abstract":"This article considers the productive inadequacy of image for contemporary painting. The mutability of image is tested against the material, spatial and durational conditions of painting, and the attentional attachments it might mobilize through an examination of the working methods of Beth Harland, Jacqueline Humphries and R.H.Quaytman. Painting is not positioned as image, but as a processor of image information, able to prompt an image response, A resistance to image is framed by the art historical and philosophical legacy of image expectations and preclusions that each artist feels compelled to work against, and the expanding opticality of our contemporary social, cultural and economic interactions.","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124052002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
C’est inspirant, une spirale. Plus encore lorsqu’il n’y en a pas qu’une : lorsque les spirales prolifèrent manifestent, extravaguent, cherchent l’ouverture. Cela émeut la pensée, l’excite, la met en mouvement – et jamais en ligne droite, bien sûr. Un enfant de deux ans et demi qui, par ailleurs, adore les bulles de savon (surtout quand elles sont nombreuses et de toutes tailles), prend un crayon à mine grasse et, sur une feuille de papier, fait tournoyer sa main : spirales désordonnées. Émotions graphiques. Les rires fusent à chaque tour. Comme c’est beau ! Cela revient toujours (répétition), mais ce n’est jamais pareil (différence). Cela explose de rythmes engendrés par un continu (une seule ligne pour de multiples tours) et cependant modulés, prenant des risques, dissemblables les uns des autres : amplitudes ici et, là, resserrements ; traits appuyés ou gestes relâchés ; espaces surpeuplés (plutôt au centre du vortex) ou bien libérés (plutôt sur les bords). C’est une véritable danse dont le papier va garder, comme sur un sismographe, le tracé. Le mouvement, de rotation, est sans doute très simple. Mais, par le seul fait qu’il se nuance, se surprend lui-même constamment – plus large ou plus resserré, plus appuyé ou plus léger –, le résultat sera complexe, potentiellement infini dans sa diversité. Tout un monde se crée à travers les innombrables modulations effectives de la main, affectives du regard. Tout un monde de formes que savait si bien décrire Henri Michaux :
{"title":"S’inspirer des spirales","authors":"G. Didi-Huberman","doi":"10.30687/jolma/2723-9640/2021/01/003","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/003","url":null,"abstract":"C’est inspirant, une spirale. Plus encore lorsqu’il n’y en a pas qu’une : lorsque les spirales prolifèrent manifestent, extravaguent, cherchent l’ouverture. Cela émeut la pensée, l’excite, la met en mouvement – et jamais en ligne droite, bien sûr. Un enfant de deux ans et demi qui, par ailleurs, adore les bulles de savon (surtout quand elles sont nombreuses et de toutes tailles), prend un crayon à mine grasse et, sur une feuille de papier, fait tournoyer sa main : spirales désordonnées. Émotions graphiques. Les rires fusent à chaque tour. Comme c’est beau ! Cela revient toujours (répétition), mais ce n’est jamais pareil (différence). Cela explose de rythmes engendrés par un continu (une seule ligne pour de multiples tours) et cependant modulés, prenant des risques, dissemblables les uns des autres : amplitudes ici et, là, resserrements ; traits appuyés ou gestes relâchés ; espaces surpeuplés (plutôt au centre du vortex) ou bien libérés (plutôt sur les bords). C’est une véritable danse dont le papier va garder, comme sur un sismographe, le tracé. Le mouvement, de rotation, est sans doute très simple. Mais, par le seul fait qu’il se nuance, se surprend lui-même constamment – plus large ou plus resserré, plus appuyé ou plus léger –, le résultat sera complexe, potentiellement infini dans sa diversité. Tout un monde se crée à travers les innombrables modulations effectives de la main, affectives du regard. Tout un monde de formes que savait si bien décrire Henri Michaux :","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130148529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper uses structure-mapping to bridge the divide between the analytical and visual culture traditions of image interpretation. Wittgenstein’s analytic ‘picture theory of meaning’ from his early period, and his cultural theory of ‘meaning as use’ from his later period are used to show that the terms similarity, analogy and metaphor can be applied to both image and linguistic interpretation. As a result, by the mapping of similarity and analogy onto the analytic approach, and by the mapping of metaphor onto the visual culture approach, a common linguistic ground for the comparison of these two approaches to image interpretation can be established.
{"title":"Wittgenstein’s Bridge\u0000 A Linguistic Account of Visual Representation","authors":"M. Biggs","doi":"10.30687/jolma/2723-9640/2021/01/010","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/010","url":null,"abstract":"This paper uses structure-mapping to bridge the divide between the analytical and visual culture traditions of image interpretation. Wittgenstein’s analytic ‘picture theory of meaning’ from his early period, and his cultural theory of ‘meaning as use’ from his later period are used to show that the terms similarity, analogy and metaphor can be applied to both image and linguistic interpretation. As a result, by the mapping of similarity and analogy onto the analytic approach, and by the mapping of metaphor onto the visual culture approach, a common linguistic ground for the comparison of these two approaches to image interpretation can be established.","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115686936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Unquestionable holders of aesthetic content, images have a well-known role even in conveying scientific knowledge. In the present work, we focus on the epistemological role of images within neuroscience. We first analyze the concepts of representation, similarity, and informativeness. Second, we discuss relevant case-studies, i.e., images by functional Magnetic Resonance Imaging, and how the pictorial interventions commonly applied on them might have an impact on their informational content. Finally, we explore the notion of imagination as a relevant faculty for modelling neuroscientific theories and the concept of creativity as an instrument to aesthetically modify brain images. These manipulations enable images to achieve the scientific purpose, altering the relation of similarity between the image and the studied phenomenon. In conclusion, this process leads to rethinking the role of the neuroscientist as an active observer.
{"title":"Neuroimaging. How to Question Scientific Images and Their Artistic Value","authors":"A. Pigoni, Davide Coraci, Emanuele Carlenzi","doi":"10.30687/jolma/2723-9640/2021/01/009","DOIUrl":"https://doi.org/10.30687/jolma/2723-9640/2021/01/009","url":null,"abstract":"Unquestionable holders of aesthetic content, images have a well-known role even in conveying scientific knowledge. In the present work, we focus on the epistemological role of images within neuroscience. We first analyze the concepts of representation, similarity, and informativeness. Second, we discuss relevant case-studies, i.e., images by functional Magnetic Resonance Imaging, and how the pictorial interventions commonly applied on them might have an impact on their informational content. Finally, we explore the notion of imagination as a relevant faculty for modelling neuroscientific theories and the concept of creativity as an instrument to aesthetically modify brain images. These manipulations enable images to achieve the scientific purpose, altering the relation of similarity between the image and the studied phenomenon. In conclusion, this process leads to rethinking the role of the neuroscientist as an active observer.","PeriodicalId":436202,"journal":{"name":"2 | 1 | 2021\n Image/Images: A Debate Between Philosophy and Visual Studies","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126163653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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