Pictures are representations that depict their objects. Although depiction plays as important a role as language in contemporary culture and communication, its function is relatively poorly understood. This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction. It addresses a wide range of philosophical issues, concerning the nature and value of depiction, the role of our perceptual processes in interpreting pictures, and the role of depiction in everyday communication.

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book’s first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics.

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn’t place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

Real Likenesses presents a radical new approach to the philosophy of artistic representation. Through a close analysis of paintings, photographs, and novels it reconsiders the relationship between medium and content, and proposes a new understanding of the 'real likenesses' that we encounter in representational art.

Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images - whether they are still or moving, 2D or 3D - have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a hand-made image or traditional photograph need not look analog. If we do not see the artist's choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. Katherine Thomson-Jones makes the case for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form - from digital video installation to net art to digital cinema - there is a basic truth that we cannot ignore: The nature and technology of the digital expands both what an image can be as an image and what an image can be for us as human beings.

​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general.

Through much of the twentieth century, philosophical thinking about works of art, design, and other aesthetic products has emphasized intuitive and reflective methods, often tied to the idea that philosophy's business is primarily to analyze concepts. This 'philosophy from the armchair' approach contrasts with methods used by psychologists, sociologists, evolutionary thinkers, and others who study the making and reception of the arts empirically. How far should philosophers be sensitive to the results of these studies? Is their own largely a priori method basically flawed? Are their views on aesthetic value, interpretation, imagination, and the emotions of art to be rethought in the light of best science? The essays in this volume seek answers to these questions, many through detailed studies of problems traditionally regarded as philosophical but where empirical inquiry seems to be shedding interesting light. No common view is looked for or found in this volume: a number of authors argue that the current enthusiasm for scientific approaches to aesthetics is based on a misunderstanding of the philosophical enterprise and sometimes on misinterpretation of the science; others suggest various ways that philosophy can and should accommodate and sometimes yield to the empirical approach. The editors provide a substantial introduction which sets the scene historically and conceptually before summarizing the claims and arguments of the essays.

Philosophy of Education in Action is an innovative, inquiry-based introductory text that invites readers to study philosophy of education through the lens of their own observations and experiences. Structured according to a "Wonder Model of Inquiry," each chapter begins by posing a fundamental What if question about curriculum, pedagogy, and the role of the school before investigating the various philosophical perspectives that guide and influence educational practices. Classroom vignettes and examples of actual schools and educational programs help to ground philosophical perspectives in real-world scenarios, while the book’s unique inquiry-based approach leads students to both think critically about philosophical questions and apply the concepts to their own teaching. Features of the text include: What if questions that structure each chapter to pique students' curiosity, stimulate creativity, and promote critical thinking. Authentic classroom vignettes that encourage students to analyze what it means to "do" philosophy and to reflect upon their own practices, examine their role in the educational process, and articulate their own philosophical beliefs. A concluding section asking readers to imagine and design their own hypothetical school or classroom as a project-based means of analyzing, synthesizing, and evaluating the different philosophies discussed. Accessible and thought-provoking, Philosophy of Education in Action provides a dynamic learning experience for readers to understand and apply philosophy in educational practice.

Volume XXI Special Issue, 2023 Part 1: Phenomenological Perspectives on Aesthetics and Art Part 2: Heidegger and Contemporary French Philosophy Aim and Scope: The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl’s groundbreaking work and the extension of this work by such figures as Reinach, Scheler, Stein, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer. Contributors: Liliana Albertazzi, Dimitris Apostolopoulos, Gabriele Baratelli, Anna Irene Baka, Irene Breuer, John Brough, Peer Bundgaard, Justin Clemens, Richard Colledge, Bryan Cooke, Françoise Dastur, Ivo De Gennaro, Natalie Depraz, Helena De Preester, Daniele De Santis, Madalina Diaconu, Arto Haapala, Robyn Horner, Erik Kuravsky, Donald Landes, Elisa Magri, Michelle Maiese, Regina-Nino Mion, Brian O’Connor, Costas Pagondiotis, Knox Peden, Constantinos Picolas, Hans Reiner Sepp, Jack Reynolds, Jon Roffe, Claude Romano, Maxine Sheets-Johnstone, Michela Summa, Panos Theodorou, Fotini Vassiliou, and Sanem Yazicioglu. Submissions: Manuscripts, prepared for blind review, should be submitted to the Editors (burt-crowell.hopkins@univ-lille3.fr and daniele.desantis@ff.cuni.cz) electronically via e-mail attachments.

This edited volume explores the interplay between philosophies in a wide-ranging analysis of how technological applications in science inform our systems of thought. Beginning with a historical background, the volume moves on to explore a host of topics, such as the uses of technology in scientific observations and experiments, the salient relationship between technology and mechanistic notions in science and the ways in which today’s vast and increasing computing power helps scientists achieve results that were previously unattainable. Technology allows today’s researchers to gather, in a matter of hours, data that would previously have taken weeks or months to assemble. It also acts as a kind of metaphor bank, providing biologists in particular with analogies (the heart as a ‘pump’, the nervous system as a ‘computer network’) that have become common linguistic currency. This book also examines the fundamental epistemological distinctions between technology and science and assesses their continued relevance. Given the increasing amalgamation of the philosophies of science and technology, this fresh addition to the literature features pioneering work in a promising new field that will appeal both to philosophers and scientific historiographers.