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3PhotographyIn Stephen Davies, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), Blackwell Companion to Aesthetics, Wiley. 2009.
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9What's So Funny? Comic Content in DepictionIn Aaron Meskin & Roy T. Cook (eds.), The Art of Comics, Wiley‐blackwell. 2012-01-27.This chapter contains sections titled: Where are the Funnies? Writing Images, Drawing Words Without Words Just Looking Where's the Fun? “What's That For?” Arts and Artifacts Notes References.
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24Aesthetics (edited book)Oxford University Press. 1997.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.…Read more
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15Drawing Distinctions: The Varieties of Graphic ExpressionCornell University Press. 2018."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.…Read more
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17What a Little Bird Tells Us: Unamumo, Origami and the Modern WorldThe Fold 51 (March-April 2019). 2019.Recovery and original English translation, with commentary and notes on metaphysical references, of parodic 1902 letter by Miguel de Unamumo, supporting the view that he was a crucial figure in the transformation of isolated, traditional, cultural practices of paperfolding into the modern, international, autonomous, minor artform postwar termed 'origami'.
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65The Science of Art: Optical Themes in Western Art from Brunelleschi to SeuratPerspective as Symbolic FormJournal of Aesthetics and Art Criticism 52 (2): 243. 1994.
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15Real ImaginingsMemesis As Make-BelievePhilosophy and Phenomenological Research 51 (2): 389. 1991.
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4Conceptual change (edited book)D. Reidel. 1973.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 delive…Read more
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4Forms of representation: proceedings of the 1972 Philosophy Colloquium of the University of Western Ontario (edited book)American Elsevier Pub. Co.. 1975.
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3Review of Richard Bolton (ed.), The Contest of Meaning: Critical Histories of PhotographyJournal of Aesthetics and Art Criticism 50 (1): 68-71. 1992.Editor's errata: Journal of Aesthetics and Art Criticism 52.2 (Spring 1994): 167.
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"We Can't, eh, Professors?": Photo AporiaIn James Elkins (ed.), The Art Seminar: Photography Theory, Routledge. 2006.
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Drawing, Painting, and Print-MakingIn Stephen Davies, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), Blackwell Companion to Aesthetics, Wiley. 2009.A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.
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51‘Neuroaesthetics’, Gombrich, and DepictionBritish Journal of Aesthetics 56 (2): 191-201. 2016.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 episte…Read more
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The Time It TakesIn Jan Baetens (ed.), The Graphic Novel, Leuven University Press. 2001.Concerns photography and time as duration, sequence, equability, past and present (illus.).
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8Review of Erwin Panofsky, Perspective as Symbolic Form (transl. C.S. Wood), and Martin Kemp, The Science of Art (review)Journal of Aesthetics and Art Criticism 52 (2): 84-85. 1994.
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1Photography and TechnologyIn Michael Kelly (ed.), Encyclopedia of Aesthetics, v. 3, Oxford University Press. 1997.Extensive revision of 1998 entry (for expanded new edition of Encyclopedia of Aesthetics) to include, besides mini-essays on technology, art, depiction and the aesthetic, a development of the last in terms of facture--the materials of a work and their working there, as perceivable in the work.
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29Wayfinding: Notes on the ‘Public’ as InteractiveReview of Philosophy and Psychology 6 (1): 27-48. 2015.“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 the…Read more
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Comments on Whitney Davis, "The Origins of Image-Making"Current Anthropology 27 (3): 206-207. 1986.
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1Review of review of Marianne Hirsch, Family Frames: Photography, Narrative, and PostmemoryBiography 22 (1): 118-121. 1999.
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Review of Barbara Savedoff, Transforming Images: How Photography Complicates the Picture (review)Modernism and Modernity 8 (2): 338-340. 2001.
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3FormIn The Grove Dictionary of Art, Macmillan. 1996.'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
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9The secular icon: Photography and the functions of imagesJournal of Aesthetics and Art Criticism 42 (2): 155-169. 1983.'Photo-credit: David Hume': a dialogue showing how application of Hume's three vivacity principles of resemblance, contiguity and causation--even his illustrations of them--not only immediately clarify the main sources of interest in photography, but locate photography in the broad and fascinating history of various functions that images serve us, thereby dispelling ongoing mystification about it. (In the dialogue, Veronica represents our contiguity and causal interests, Miranda [named for a Jap…Read more