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.

Fifty years ago Ernst Gombrich’s Art and Illusion revolutionized philosophical and scientific study of visual representation by thoughtful -application of research from the modern vision sciences. Since then those sciences – recently including neuroscience – have greatly developed, and it is now common to attempt direct translation of their findings to depiction, even treating its perception as a branch of visual perception.Unfortunately, rather than advancing Gombrich’s project, many of these applications – often reductive in nature – involve elementary logical fallacies. These fallacies are mostly due to overlooking Gombrich’s main idea, that image makers – like other technologists – use natural principles for their own purposes, and that their first purpose is to make artifacts, which are perceived as such. With better context, it should be possible to find more constructive directions for recent cognitive research, related to drawing.

Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers the fuller account of agency lacking in such discussions. But fine art is not the only value classification we use.

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something.