_Philosophy of Mathematics_ is an excellent introductory text. This student friendly book discusses the great philosophers and the importance of mathematics to their thought. It includes the following topics: * the mathematical image * platonism * picture-proofs * applied mathematics * Hilbert and Godel * knots and nations * definitions * picture-proofs and Wittgenstein * computation, proof and conjecture. The book is ideal for courses on philosophy of mathematics and logic.

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

In his long-awaited new edition of Philosophy of Mathematics, James Robert Brown tackles important new as well as enduring questions in the mathematical sciences. Can pictures go beyond being merely suggestive and actually prove anything? Are mathematical results certain? Are experiments of any real value?" "This clear and engaging book takes a unique approach, encompassing nonstandard topics such as the role of visual reasoning, the importance of notation, and the place of computers in mathematics, as well as traditional topics (...) such as formalism, Platonism, and constructivism. The combination of topics and clarity of presentation make it suitable for beginners and experts alike. The revised and updated second edition of Philosophy of Mathematics contains more examples, suggestions for further reading, and expanded material on several topics including a novel approach to the continuum hypothesis."--BOOK JACKET. (shrink)

Several prominent philosophers of science, most notably Ron Giere, propose that scientific theories are collections of models and that models represent the objects of scientific study. Some, including Giere, argue that models represent in the same way that pictures represent. Aestheticians have brought the picturing relation under intense scrutiny and presented important arguments against the tenability of particular accounts of picturing. Many of these arguments from aesthetics can be used against accounts of representation in philosophy of science. I rely (...) on Dominic Lopes' recent summary of arguments against various views of picturing and reformulate some of them to fit the philosophy of science context. My specific targets here are Giere and Steven French. I go on to argue that assuming all scientific models and images represent in the same way is not the best guide to understanding scientific practice. (shrink)

Are philosophers regularly led into error by misleading pictures, grammatical appearances, illusions and fictions? An affirmative answer to this question lies at the heart of the writings of the later Wittgenstein on mind and language. Another affirmative answer was given much earlier by Anton Marty. The two Austrian philosophers think that philosophers regularly succumb to certain temptations which lie in natural language. Many of the examples given by the two philosophers are indeed the same. I set out the similarities (...) between the two accounts of misleading pictures and argue that many aspects of the two accounts can be defended independently of the very different conceptions of the philosophy of Marty and Wittgenstein. The paper shows how important it is to consider Wittgenstein’s Austrian predecessors if he is to be understood. (shrink)

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the philosophy of (...) Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

The contributors to this volume describe a range of programs that use picture books to teach philosophy to diverse audiences. From a pre-school program in which college students to do the teaching to a program focused on overcoming the legacy of violence and genocide in Mali in which the teachers write and illustrate their own picture books, the authors demonstrate the impact that learning philosophy has on diverse communities of young students and their teachers.

Book review of _The Philosophy of Motion Pictures_ by Noël Carroll.

The word “picture” occurs pervasively in Wittgenstein's later philosophy. Not only does Wittgenstein often use literal pictures or the notion of mental pictures in his investigations, but he also frequently uses “picture” to speak about a way of conceiving of a matter (e.g. “A picture held us captive” at Philosophical Investigations§115). I argue that “picture” used in this conceptual sense is not a shorthand for an assumption or a set of propositions but is rather an expression of conceptual (...) bedrock on the model of an organising myth. This reading builds primarily on work by Gordon Baker and Stanley Cavell. (shrink)

Minerva’s Night Out presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture.

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

This research examines the contribution of W.J.T. Mitchell, especially on the philosophy of image. Image has been so long treated as an object. W.J.T. Mitchell located image as a subject that produced self-reflection, even capable to create a theory about themselves. The contributions of Mitchell on philosophy of image are manifested on his concepts: pictorial turn, the distinction of image and picture, mixed media, meta-picture, and bio-picture.

Using picture books as a means of initiating philosophical discussions with younger children is an idea that has occurred to a number of people involved in P4C/Philosophy in Schools in various parts of the world. Some went on to develop support materials to encourage teachers to go beyond reading picture books to/with their classes to drawing the students into a community of philosophical inquiry. Early examples include Karin Murris, Chris de Haan and colleagues, and myself in Australia, and Tom Wartenberg (...) in the USA. As well as Matthew Lipman and Ann Sharp, Tom’s work drew on the writings of Gareth Matthews, both in his 1980 book 'Philosophy and the Young Child', and his regular columns on the philosophy in picture books in the journal 'Thinking'. (shrink)

Picturing is a poorly understood element of Sellars’s philosophical project. We diagnose the problem with picturing as follows: on the one hand, it seems that it must be connected with action in order for it to do its job. On the other hand, the representational states of a picturing system are characterized in descriptive and seemingly static terms. How can static terms be connected with action? To solve this problem, we adopt a concept from recent work in Sellarsian metaethics: the (...) idea of a material practical inference, which (we argue) features centrally in how we picture. The key distinction is that the picturing of nonhuman animals involves only Humean material practical inference, in which representational states are corrected only by feedback from the environment and not from discursive interactions. The resulting view shows that Sellars’s contributions to practical philosophy (especially theory of action and metaethics) cannot be separated from his contributions to philosophy of mind, language, and cognitive science. Further, the view makes it clear that picturing is neither a version of the Given, nor is it a fifth wheel to inferential role in explaining representation, but is essential to Sellars’s model of how animals—including humans—represent their environment. (shrink)

This is a report on a philosophy performance that happened as part of the 2024 Long Night of Research in Austria. Maria Kronfeldner staged the content of her book “What’s left of Human Nature: A Post-Essentialist, Pluralist and Interactive Account of a Contested Concept,” (2018, MIT Press) by filling the wall in the gallery of CEU’s Library Café with pictures and text, performatively communicating the process of philosophical inquiry – the ordering of the material that one has found, the (...) creation of a coherent and complexly structured whole – to make philosophical research visible and graspable beyond the written text. The visual essay documents the event. (shrink)

Jeffrey T. Dean Getting a Good View of Depiction _Film-Philosophy_, vol. 3 no. 26, June 1999.

It is a commonplace in the historiography of medieval philosophy that theology represents philosophy's culmination in the later Middle Ages, and specifically, that it is in the work of theologians and theologically-trained Arts Masters that we find philosophy in its purest and most advanced form. By comparison, the philosophy produced by thinkers who worked exclusively or primarily in the Faculty of Arts is seen as inferior -- by which is usually meant that it is shallow, unsophisticated, immature, and driven by (...) disparate curricular and pedagogical concerns rather than by the more single-minded commitment to rationally articulate that sacred doctrine which, as Aquinas says, "extends [by virtue of its oneness] to things which belong to different philosophical sciences.". (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

This chapter offers a critical discussion of the idea of filmosophy or film as philosophy. I explore the debate surrounding the idea of “film as philosophy”, distinguishing this approach from more traditional philosophy of film, and suggesting that it has a long history going back to key figures in early film theory. I then focus on the seminal work of Stanley Cavell and Gilles Deleuze, often described as the inaugurators of film-philosophy. Finally, I examine recent proposals concerning the idea of (...) “film as philosophy”, which argue for a more transformative relationship between philosophy and cinema, and offer some concluding reflections on how we might respond to some of the objections raised against this approach. (shrink)

John Kulvicki explores the many ways in which pictures can be meaningful, taking inspiration from the philosophy of language. Pictures are important parts of communicative acts. They express a variety of thoughts, and they are also representations. Kulvicki shows how the meanings of pictures let us put them to a wide range of communicative uses.

Motion pictures - Philosophy ; Motion pictures -- History and criticism ; Motion picture plays -- History and criticism.

The paper presents a novel account of nature and genesis of some philosophical problems, which vindicates a new approach to an arguably central and extensive class of such problems: The paper develops the Wittgensteinian notion of ‘philosophical pictures’ with the help of some notions adapted from metaphor research in cognitive linguistics and from work on unintentional analogical reasoning in cognitive psychology. The paper shows that adherence to such pictures systematically leads to the formulation of unwarranted claims, ill-motivated problems, (...) and pointless theories. To do so, the paper proceeds from a case-study on a lastingly influential development in early modern philosophy: the adoption of the doctrine of secondary qualities, and its principal consequences. The findings motivate a new approach to an arguably extensive and important class of philosophical problems: to the problems we raise in the grip of philosophical pictures. (shrink)

Visit the author's Web site at www.11PicsOfTime.com Time is a mystery that has perplexed humankind since time immemorial. Resolving this mystery is of significance not only to philosophers and physicists but is also a very practical concern. Our perception of time shapes our values and way of life; it also mediates the interaction between science and religion both of which rest fundamentally on assumptions about the nature of time. C K Raju begins with a critical exposition of various time-beliefs, ranging (...) from the earliest times through Augustine, Newton and Einstein to Stephen Hawking and current notions of chaos and time travel. He traces the role of organised religion in subverting time beliefs for its political ends. The book points out how this resulted in a facile dichotomy between 'linear' and 'cyclic' time, thereby inaugurating a confusion which, according to the author, has handicapped Western thought ever since, eventually influencing the content of science itself. Thus, this book daringly asserts that physical theory, traditionally regarded as amoral and objective, has depended on cultural beliefs about time. The author points out that time beliefs are again being manipulated today as the credibility of science is being exploited to promote a picture of time and, hence, a pattern of human behaviour which is convenient to the agenda of globalisation of culture. The linkages between modern theology and this 'brave new physics' are traced against the wider context of the so-called 'clash of civilisations', and the attempts to remake the world order. The conclusions point to the need to de-theologise time. The author challenges Einstein's understanding of relativity theory and suggests that a 'tilt in the arrow of time', or a small tendency towards cyclicity, will help repair the prevalent confusion about time. A 'tilt' also enables a physics that permits both memory and creativity, so that purpose and spontaneous growth of order are returned to human life. The book ends with a vision of Man as Creator, surprising God. Extensive research in physics, the history of science, comparative religions, and sociology lend weight to the important and challenging conclusions reached by the author. Written as a rejoinder to Stephen Hawking's A Brief History of Time, this book goes much further and, unlike any previous book, it gives a critical exposition of various world religions-Buddhism, Christianity, Hinduism, Islam, and Jainism-while exploring their intricate links, through time beliefs, to current physics on the one hand, and to global political and economic trends, on the other. This book will appeal to scholars and laypersons equally. It will fascinate anyone who reads it and will teach its readers to question the unquestionable. (shrink)

What makes pictures different from all of the other ways we have of representing things? Why do pictures seem so immediate? What makes a picture realistic or not? Against prevailing wisdom, Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have (...) thought. (shrink)

This book provides justification and instruction for exploring philosophy with children, especially by using picture books to initiate philosophical discussion. By demonstrating to pre-service teachers that picture books often embed philosophical issues into their narratives, and that this makes picture books a natural place to go to help young children investigate philosophical issues, the author offers a straightforward approach to engaging young students. In particular, this volume highlights how philosophical dialogue enhances children's sense of self, provides a safe space for (...) the discussion of issues that they are confronted with in living their lives, and develops an admirable method for resolving conflict that the children can use in other contexts. (shrink)

For centuries, philosophers of time have produced texts containing words and pictures. Although some historians study visual representations of time, I have not found any history of philosophy on pictures of time within texts. This paper argues that studying such pictures can be rewarding. I will make this case by studying pictures of time in the works of Leibniz, Arthur Eddington and C. D. Broad, and argue they play subtle roles. Further, I will argue that historians (...) of philosophy more widely could benefit from paying more attention to pictures. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be (...) fatal to resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is (...) to defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. -/- It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. -/- The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors. (shrink)

Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories of (...) reflection : Laura Mulvey's "Visual pleasure and narrative cinema" -- Early cinema spectatorship : Tom Gunning's "The cinema of attraction(s): early film, its spectator, and the avant-garde" -- Another Lacan : "the universal: suture revisited" -- The death of the camera : Edward Branigan's "What is a camera?" -- Conclusion: teaching theory. (shrink)

European Journal of Philosophy, Volume 29, Issue 4, Page 1187-1191, December 2021.