Results for ' drawing'

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  1. Am Anfang war Technik.Käte Meyer-Drawe - 2017 - In Konrad Paul Liessmann, Über Gott und die Welt: Philosophieren in unruhiger Zeit. Wien: Paul Zsolnay Verlag.
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  2.  7
    Pädagogik und Ethik: Beiträge zu einer zweiten Reflexion.Käte Meyer-Drawe, Helmut Peukert, Jörg Ruhloff & Wolfgang Fischer (eds.) - 1992 - Weinheim: Deutscher Studien Verlag.
  3. First Name.Land Matters & Drawing Board - forthcoming - Ethics.
     
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  4.  12
    Im Zwielicht.Käte Meyer-Drawe - 2017 - Zeitschrift für Kulturphilosophie 2017 (2):201-202.
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  5.  13
    Stimmgewalten.Käte Meyer-Drawe - 2003 - In Burkhard Liebsch & Dagmar Mensink, Gewalt Verstehen. Akademie Verlag. pp. 119-130.
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  6. Zur Sache der Dinge.Käte Meyer-Drawe - 2014 - In Iris Därmann & Rebekka Ladewig, Kraft der Dinge: phänomenologische Skizzen. Paderborn: Wilhelm Fink.
     
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  7. 111 Simposi internacional de filosofia de l'educació.Fernando Bárcena, Alberto Granese, Jorge Larrosa, Joan-Carles Mklich, Kate Meyer-Drawe, Anna Pagks, David Sacristán & Michel Soetard - 1994 - Enrahonar: Quaderns de Filosofía 22:157.
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  8.  35
    What drawings draws on: the relevance of current vision research.Patrick Maynard - 2011 - Rivista di Estetica 47:9-29.
    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. (...)
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  9.  81
    (1 other version)Drawing Distinctions: The Varieties of Graphic Expression.Patrick Maynard - 2005 - Cornell University Press.
    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 (...)
  10.  6
    Drawing your own path: 33 practices at the crossroads of art and meditation.John F. Simon - 2016 - Berkeley, California: Parallax Press.
    Machine generated contents note: Chapter One: Wrong Question, Right Answer -- Exercise 1: Getting right into it -- Exercise 2: Watching your hand -- Exercise 3: Marking practice -- Chapter Two: Realistic Drawing -- Exercise 4: Picking an object to draw -- Exercise 5: Attentive looking -- Exercise 6: Noticing awareness -- Exercise 7: Marking from the sense of sight -- Exercise 8: Simple rendering -- Exercise 9: Try perspective -- Exercise 10: Working inward -- Chapter Three: Systematic (...) -- Exercise 11: The circular arrow - a visual mantra -- Exercise 12: Improvising between two points and finding the world in between -- Exercise 13: Thought as art -- Exercise 14: All four pixel images -- Exercise 15: Book of compositions -- Chapter Four: Improvisational Drawing -- Exercise 16: Going outside the box -- Exercise 17: Not-breath awareness -- Exercise 18: Growing improvisation -- Exercise 19: Chasing the Coltrane Effect -- Exercise 20: Drawing to reveal inner conditions -- Exercise 21: Noticing Intuition -- Exercise 22: You are the universe drawing -- Chapter Five: Reading the Drawings -- Exercise 23: An exact physical description -- Exercise 24: Feeling the meaning -- Exercise 25: The story we tell ourselves -- Exercise 26: Connecting our story to a larger story -- Chapter Six: The Search for the Source of Creativity -- Exercise 27: Priming the source -- Exercise 28: Sitting still at the origin -- Exercise 29: Embedded sources -- Exercise 30: Mindful of the path -- Chapter Seven: Meta-Drawing -- Exercise 31: Sharing with yourself -- Exercise 32: Sharing with a trusted friend -- Exercise 33: Sharing with the world. (shrink)
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  11.  20
    Understanding drawing in all its forms: a journey through the recent aesthetic commitment to the public, social and political.Ramon Blanco-Barrera - 2023 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 16 (1):169-179.
    Drawing could be considered the oldest known art form. However, art and its understanding has come to evolve so much that it has derived a multitude of forms that are almost unclassifiable today. The aesthetic discourses of the public, social and political have also been prejudiced and their true essence has been altered. In the present research work, we explore a series of artists who work with art as a language and tool for change and improvement of public life (...)
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  12.  25
    Drawing Invisible Wounds: War Comics and the Treatment of Trauma.Joshua M. Leone - 2018 - Journal of Medical Humanities 39 (3):243-261.
    Since the Vietnam War, graphic novels about war have shifted from simply representing it to portraying avenues for survivors to establish psychological wellness in their lives following traumatic events. While modern diagnostic medicine often looks to science, technology, and medications to treat the psychosomatic damage produced by trauma, my article examines the therapeutic potential of the comics medium with close attention to war comics. Graphic novels draw trauma in a different light: because of the medium’s particular combination of words and (...)
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  13. Drawing, Painting, and Print-Making.Patrick Maynard - 2009 - In Stephen Davies, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David Cooper, Blackwell Companion to Aesthetics. Malden, MA: Wiley.
    A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.
     
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  14.  27
    The Drawing Board of Imagination: Federico Commandino and John Philoponus.Guy A. J. Claessens - 2015 - Journal of the History of Ideas 76 (4):499-515.
    © by Journal of the History of Ideas. Federico Commandino can be considered the personification of the renaissance of mathematics in sixteenth-century Italy. Previous scholars have generally reduced the philosophy of mathematics developed by Commandino in the preface to his translation of Euclid’s Elements to a superficial synthesis of Neoplatonic and Aristotelian elements. Until now, no attention has been paid to Commandino’s use of the sixth-century commentary on Aristotle’s De Anima by John Philoponus. In his article I will argue that, (...)
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  15.  13
    Drawing on the Past: Palladio, his Precursors and Knowledge of Ancient Architecture c. 1550.David Hemsoll - 2019 - Journal of the Warburg and Courtauld Institutes 82 (1):195-249.
    The argument set out here provides a new understanding of the methods followed by the Renaissance architect Andrea Palladio for depicting the monuments of classical antiquity—in both his drawings and the plates of his seminal architectural treatises, the Quattro libri dell’architettura. It accepts the now-established view that Palladio’s early studies were frequently copied from the drawings of previous practitioners, but it reasons that his later output was also heavily dependent on past achievements. This is contrary to the claims Palladio made (...)
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  16.  31
    Drawing Inferences: Thinking with 6B.Sabine Ammon - 2019 - Philosophy and Technology 32 (4):591-612.
    This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well (...)
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  17.  59
    Drawing out culture: productive methods to measure cognition and resonance.Terence E. McDonnell - 2014 - Theory and Society 43 (3):247-274.
    Theories of culture and action, especially after the cognitive turn, have developed more complex understandings of how unconscious, embodied, internalized culture motivates action. As our theories have become more sophisticated, our methods for capturing these internal processes have not kept up and we struggle to adjudicate among theories of how culture shapes action. This article discusses what I call “productive” methods: methods that observe people creating a cultural object. Productive methods, I argue, are well suited for drawing out moments (...)
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  18. Drawing in a Social Science: Lithic Illustration.Dominic McIver Lopes - 2009 - Perspectives on Science 17 (1):pp. 5-25.
    Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
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  19. Sand Drawings as Mathematics.Andrew English - 2023 - Mathematics in School 52 (4):36-39.
    Sand drawings are introduced in relation to the fieldwork of British anthropologists John Layard and Bernard Deacon early in the twentieth century, and the status of sand drawings as mathematics is discussed in the light of Wittgenstein’s idea that “in mathematics process and result are equivalent”. Included are photographs of the illustrations in Layard’s own copy of Deacon’s “Geometrical Drawings from Malekula and other Islands of the New Hebrides” (1934). This is a brief companion to my article “Wittgenstein on string (...)
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  20.  9
    Character-Drawing in Thucydides.Charles Forster Smith - 1903 - American Journal of Philology 24 (4):369-387.
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  21. Drawing a line : on Hertz's hands.Ulrich van Loyen - 2022 - In Johannes F. M. Schick, Mario Schmidt & Martin Zillinger, The social origins of thought: Durkheim, Mauss, and the category project. New York: Berghahn.
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  22. Drawing-Room Conversion: A Sociological Account of the Oxford Group Movement.Allan W. Eister - 1950
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  23.  23
    Drawing facilitates children's verbal reports after long delays.Julien Gross & Harlene Hayne - 1999 - Journal of Experimental Psychology: Applied 5 (3):265.
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  24.  42
    Re-drawing the line: A commentary on ‘preparation for professional self-regulation’.Daryl E. Chubin - 2001 - Science and Engineering Ethics 7 (4):611-614.
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    : Drawing Processes of Life: Molecules, Cells, Organisms.Alexander Theo Giesen - 2024 - Hopos: The Journal of the International Society for the History of Philosophy of Science 14 (2):637-640.
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  26.  12
    Iliad Drawings.Harold Keller - 2017 - Arion 24 (3):75.
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  27. (1 other version)Drawing an Unwritten Common Law: The Normative Pictograms of Christiania.G. Loddo Olimpia - 2017 - Latest Issue of Archiv Fuer Rechts Und Sozialphilosphie 103 (1):101-116.
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  28.  26
    What Drawing and Painting Really Mean: The Phenomenology of Image and Gesture.Paul Crowther - 2017 - New York: Routledge.
    There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, (...)
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  29. Drawing the boundary between subject and object: Comments on the mind-brain problem.Robert Rosen - 1993 - Theoretical Medicine 14 (2):89-100.
    Physics says that it cannot deal with the mind-brain problem, because it does not deal in subjectivities, and mind is subjective. However, biologists still claim to seek a material basis for subjective mental processes, which would thereby render them objective. Something is clearly wrong here. I claim that what is wrong is the adoption of too narrow a view of what constitutes objectivity, especially in identifying it with what a machine can do. I approach the problem in the light of (...)
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  30. Drawing the Line: Using Cartoons as Historical Evidence [Book Review].Rosalie Triolo - 2010 - Agora (History Teachers' Association of Victoria) 45 (2):68.
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  31. Drawing More Lines: Response to Depraetere and Salkie.Kent Bach - 2016 - In Raphael Salkie & Ilse Depraetere, Semantics and Pragmatics: Drawing a Line. Cham, Switzerland: Springer Verlag.
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  32. Drawing,(an), affecting Nietzsche, with Derrida'.Ruben Berezdivin - 1989 - In Hugh J. Silverman, Derrida and Deconstruction. London: Routledge. pp. 92--107.
     
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  33.  11
    Drawing the Line.D. Wieck - 1978 - Télos 1978 (35):199-214.
  34.  35
    Hexagram Drawings on Warring States (475 B. C. E.-221 B. C. E.) Bamboo Slips.Li Xueqin - 2013 - Contemporary Chinese Thought 44 (3):34-41.
  35.  7
    Drawing the Lines: Translation and Diplomacy in the Central Asian Borderlands.Lisa Hellman - 2021 - Journal of the History of Ideas 82 (3):485-501.
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  36.  28
    Drawing Status and Picture Preferences of Primary School Children.Anthony Booth - 1975 - Educational Studies 1 (1):63-76.
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  37.  22
    Drawings of Balinese Sorcery: Published with a Commentary.Christiaan Hooykaas - 1980 - Leiden: Brill.
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  38.  22
    Drawing Inferences from Conditionals.Hans Rott - 1997 - In Eva Ejerhed Sten Lindström, Logic, Action and Cognition: Essays in Philosophical Logic. Dordrecht, Netherland: Kluwer Academic Publishers. pp. 149-179.
    This paper compares three accounts of what can be inferred from a knowledge base that contains conditionals: Lehmann and Magidor’s Rational Entailment; Pearl’s System Z, later extended and refined in collaboration with Goldszmidt; and the present author’s Nonmonotonic conditional logic for belief revision. We show that although the ideas motivating these systems are strikingly different, they are formally equivalent. An explanation of the surprising parallel is offered in terms of the interpretation of conditionals in the context of nonmonotonic reasoning and (...)
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  39.  54
    Architectural Drawings as Investigating Devices: Architecture’s Changing Scope in the 20th Century.Marianna Charitonidou - 2023 - London; New York: Routledge.
    Architectural Drawings as Investigating Devices explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. The book diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and the (...)
  40.  20
    Aging: Drawing a Map for the Future.Daniel Callahan - 2018 - Hastings Center Report 48 (S3):80-84.
    I live on a short street in a small town, Hastings‐on‐Hudson, some fifteen miles up the Hudson River from New York City. Over the past decade a number of families have moved in, with about sixteen children among them. More than a bit housebound now because of old age and watching them romping about, I try to imagine what their world will be like when they have reached my present age, some eighty years from now. But I have a problem. (...)
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  41.  99
    Line drawings: defining women through feminist practice.Cressida J. Heyes - 2000 - Ithaca, NY: Cornell University Press.
    This is a fresh and vitally important step past stymied debate on what is arguably the most pressing issue in cross-disciplinary feminist theory.
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  42.  10
    Spirit Drawings: A Personal Narrative.W. M. Wilkinson - 2014 - Literary Licensing, LLC.
    This Is A New Release Of The Original 1864 Edition.
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  43.  10
    Drawing Out Leviathan: Dinosaurs and the Science Wars.Keith M. Parsons - 2001 - Indiana University Press.
    "... are dinosaurs social constructs? Do we really know anything about dinosaurs? Might not all of our beliefs about dinosaurs merely be figments of the paleontological imagination? A few years ago such questions would have seemed preposterous, even nonsensical. Now they must have a serious answer." At stake in the "Science Wars" that have raged in academe and in the media is nothing less than the standing of science in our culture. One side argues that science is a "social construct," (...)
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  44.  9
    Experimenting with Affect across Drawing and Choreography.Nicole De Brabandere - 2016 - Body and Society 22 (3):103-124.
    In this article, I analyse line-rendering techniques in drawing and choreography, based on a Deleuzian framework. This pragmatic approach for understanding affect emerges in three distinct formulations. The first engages the coincidence of drawing and choreography at the limit of reach; the second investigates how trace and movement generate different yet mutually resonant versions of semblance. The third framework considers the potential for improvisation in the irreconcilability of contour and surface in the weighted line. These three framings generate (...)
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  45.  21
    The drawing rules of children: Sequence and direction.Elizabeth Pemberton - 1987 - Bulletin of the Psychonomic Society 25 (5):383-386.
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  46.  17
    Madness and Modernity: The Drawings of Antonin Artaud from 1944 to 1946.Carla Subrizi - 2023 - Lebenswelt: Aesthetics and Philosophy of Experience 19.
    Antonin Artaud, words, drawings, and the extreme and traumatic condition of an individual who pushed back the boundaries of history, of his own time, in Europe’s darkest days. Such is my scope in the pages that follow. This essay examines the drawings produced by Artaud between 1944 and 1946. They offer a particularly helpful starting point for a series of reflections on, on the one hand, a concept of identity that had emerged and re-emerged with a new critical awareness following (...)
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  47. Children’s Drawings As Expressions Of “NARRATIVE Philosophizing” Concepts Of Death A Comparison Of German And Japanese Elementary School Children.Eva Marsal & Takara Dobashi - 2011 - Childhood and Philosophy 7 (14):251-269.
    One of Kant’s famous questions about being human asks, “What may I hope?” This question places individual life within an encompassing horizon of human history and speculates on the possibility of perspectives beyond death. In our time mortality is generally repressed, though the development of personal consciousness is closely linked to realization of one’s finitude. This raises especially urgent questions for children, and they are left to deal with them alone. From the time awareness begins, knowledge that death can occur (...)
     
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  48.  38
    Company Drawings in the India Office Library.Holden Furber & Mildred Archer - 1975 - Journal of the American Oriental Society 95 (1):139.
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  49.  18
    Drawing lines and borders: how the dehiscent fruit of Arabidopsis is patterned.José R. Dinneny & Martin F. Yanofsky - 2005 - Bioessays 27 (1):42-49.
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  50.  60
    Drawing hands.Laurence Goldstein - 2009 - The Philosophers' Magazine 45 (45):79-79.
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