Patrick Maynard

“Induction provides a path to first principles” (Aristotle): so we approach our topic by sampling three distinct sorts of data—rules in actions as exemplified in games; rules as directives for manufacture; as laws not only for maintaining order among people but also relations between citizens and governments—finding in each case the parts that nonverbal expressions of rules play. While words are essential to formulating constitutive rules defining sporting games, they seem less important than emulation for recreational uses. They drop out in children’s games of make-believe, which developmental psychology shows to be crucial to early development, since ours is a naturally rule making and following species. Industrial artifacts, thereby the modern world, depend on graphic systems, here exemplified by origami notation, which feature isolation and sequence in simultaneity, lacked by words. Such notations also exhibit a five-order pattern of intentionality, whose importance is demonstrated by communication breakdowns in road signage, undermining civic life.

Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag. It focuses on why art and a variety of aesthetics matter to us, and on how perceivers participate in and contribute to the experience of appreciating a work of art. With its multicultural and multidisciplinary scope, this volume shows how anthropology, art history, Chinese theories of painting, and other perspectives both enrich and provide alternatives to classic philosophical accounts of art and the aesthetic.

"If our procedure is to work steadily in the direction of drawing as fine art, rather than beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate 'the course of drawing,' from the first marks children make to the greatest graphic arts of different cultures."—from the Introduction Patrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West. Despite, or perhaps because of, its ubiquity, drawing as such has provoked remarkably little philosophical reflection. Nonphilosophical writing on the topic tends to be divided between specialties such as art history and mechanics. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments that unite this fundamental autonomous human activity in all its diversity. Informed by close discussion of work in art history, art criticism, cognitive and developmental psychology, and aesthetics, Drawing Distinctions presents a theoretically sophisticated yet approachable argument that will improve comprehension and appreciation of drawing in its many forms, uses, and meanings.

During Hallowe'en of 1970, the Department of Philosophy of the Univer sity of Western Ontario held its annual fall colloquium at London, On tario. The general topic of the sessions that year was conceptual change. The thirteen papers composing this volume stem more or less directly from those meetings; six of them are printed here virtually as delivered, while the remaining seven were subsequently written by invitation. The programme of the colloquium was to have consisted of major papers delivered by Professors Wilfrid Sellars, Stephan Korner, Paul Ziff and Hilary Putnam, with shorter commentary thereupon by Professors Robert Binkley, Joseph Ullian, Jerry Fodor and Robert Barrett, respec tively. And that is the way it happened, with one important exception: at the eleventh hour, Sellars and Binkley exchanged roles. This gave Binkley the rather unusual and challenging task of providing a suitable Sellarsian answer to a question not of his own asking - for Binkley's paper was written under Sellars' original title. Sellars' own contribution to the vo lume is perhaps more nearly what he would have presented as main speaker than a direct response to Binkley. However, it has seemed best, on balance, to attempt no further stylistic accommodation of the one paper to the other; their mutual philosophical relevance will be evident in any case. The editors would here like to extend special thanks to both Sellars and Binkley for their extraordinary efforts under the circumstances.

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html

For philosophical readers, a review of biology Nobel laureate Eric R. Kandel’s Age of Insight historical thesis, that today’s ‘neuroaesthetics’ is a continuation of Vienna’s great contributions to modernism from 1900 on, becomes a ‘critical study’, by closely examining Kandel’s valuable account of E.H. Gombrich’s psychology, then, broadly, his own case for the validity of ‘neuroaesthetics’. The article much credits Kandel for recognising and explaining—unlike most philosophers, with their epistemological and metaphysical perspectives—why Gombrich’s Art and Illusion is subtitled ‘Psychology’, since it is about what its author termed throughout ‘convincing’ depiction. But, while holding that Kandel’s case for ‘neuroaesthetics’ is, at least in tone, superior to Ramachandran’s, the study broadens still further into a critical examination of it, with at first standard—since Aristotle—arguments against reductivism, as a materialism that neglects first formal then final causes or purposes. Original to the critique is an additional argument, that so-called ‘neuroaesthetics’ is not only inconsistent with the ‘reductionist’—not reductivist—principles of Kandel’s own science, as explained in his earlier account of them, In Search of Memory, but also contradicts a basic Darwinian principle underlying all modern biology, that genuine novelty can arise from rearrangement of older materials. The conclusion is that although neuroscience may make important contributions to aesthetics and appreciation, there is as yet no basis for holding that it could produce an aesthetics.

“Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. The styles of the two halves contrast, that of the first being an inductive mapping of neglected conceptual terrain of directive representations, that of the second linear: a continuous argument in answer to a question regarding descriptive spatial representation in the digital age. The common thread is the public as users of all such cognitive artifacts, and this use as interactive, with a range of implications for social collectivity