This article examines how emerging technologies – particularly artificial intelligence – disrupt the moral and institutional foundations of contemporary military practice. While strategic documents from the United States, NATO, and other major actors anticipate profound institutional transformation driven by AI, their treatment of ethics largely confines itself to legal compliance and technical safeguards, leaving the ethical role of military leadership in managing disruptive change underexamined. Drawing on Seumas Miller’s distinction between social institutions that are merely instrumental to collective goods (...) and those whose defining ends are constitutive of such goods, the article argues that the military belongs to the latter category. Because the military’s core function – defending the sovereignty of a polity – is itself morally significant, technological disruption of its organizational structures simultaneously constitutes ethical disruption. The article thus reconceives change management during periods of technological transition as calling for a specific kind of military prudence, a practical wisdom exercised within and through the institution’s role-mediated ethical practices. By analyzing three concrete modes of techno-moral disruption, the article shows how AI may reshape ethical standards, redistribute professional knowledge, and alter organizational ethos, and why navigating these transformations responsibly is a central task of military virtue. (shrink)

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 (...) figures as mathematics” (2022), published in the journal Philosophical Investigations. (shrink)

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 (...) Kappa Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html . (shrink)

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, (...) then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space. (shrink)

Biological dysfunction is regarded, in many accounts, as necessary and perhaps sufficient for disease. But although disease is conceptualized as all-or-nothing, biological functions often differ by degree. A tension is created by attempting to use a continuous variable as the basis for a categorical definition, raising questions about how we are to pinpoint the boundary between health and disease. This is the line-drawing problem. In this paper, we show how the line-drawing problem arises within “dysfunction-requiring” accounts of disease, (...) such as those of Christopher Boorse and Jerome Wakefield. We then provide several detailed examples to establish that biological dysfunction cannot provide a boundary. We examine potential ways of resolving the line-drawing problem, either by dropping one of the claims that generates it, or by appealing to additional criteria. We argue that two of these options are plausible, and that each of these can be applied with regard to different diseases. (shrink)

Drawing the line on physician assistance in physician-assisted death (PAD) continues to be a contentious issue in many legal jurisdictions across the USA, Canada and Europe. PAD is a medical practice that occurs when physicians either prescribe or administer lethal medication to their patients. As more legal jurisdictions establish PAD for at least some class of patients, the question of the proper scope of this practice has become pressing. This paper presents an argument for restricting PAD to the terminally (...) ill that can be accepted by defenders as well as critics of PAD for the terminally ill. The argument appeals to fairness-based paternalism and the social meaning of medical practice. These two considerations interact in various ways, as the paper explains. The right way to think about the social meaning of medical practice bears on fair paternalism as it relates to PAD and vice versa. The paper contends that these considerations have substantial force when directed against proposals to extend PAD to non-terminally ill patients, but considerably less force when directed against PAD for the terminally ill. The paper pays special attention to the case of non-terminally ill patients who suffer from treatment-resistant depression, as these patients present a potentially strong case for extending PAD beyond the terminally ill. (shrink)

This article divides into two roughly equal parts, both of which aim to address the act rather than the art of drawing. The second part focuses on a theoretical discussion of drawing. The first bears on a number of themes including the role of drawing in colonial history, drawing and data collection, and drawing and memory. It begins by describing an episode that unfolded as an encounter between two worlds, and two ages—an episode whose meaning (...) and effects are still controversial today. (shrink)

A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.

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. (shrink)

Business and society (B&S) scholarship that uses the theoretical perspective of institutionalism combines different research approaches to values. Within the B&S literature drawing on institutionalism, we identified and categorized the research on values according to a spectrum of normative and/or descriptive approaches (including both and neither approaches). Primarily, we focused on how the normative and descriptive approaches interrelate and integrate. We argue that drawing on John Dewey’s pragmatism and Philip Selznick’s institutionalism can help further an integrative approach, which (...) holds great potential for advancing theorization in the B&S field while increasing its practical relevance. (shrink)

In “On Drawing Lines on a Map” (1995), I suggested that the different ways we have of drawing lines on maps open up a new perspective on ontology, resting on a distinction between two sorts of boundaries: fiat and bona fide. “Fiat” means, roughly: human-demarcation-induced. “Bona fide” means, again roughly: a boundary constituted by some real physical discontinuity. I presented a general typology of boundaries based on this opposition and showed how it generates a corresponding typology of the (...) different sorts of objects which boundaries determine or demarcate. In this paper, I describe how the theory of fiat boundaries has evolved since 1995, how it has been applied in areas such as property law and political geography, and how it is being used in contemporary work in formal and applied ontology, especially within the framework of Basic Formal Ontology. (shrink)

One characteristic of the transition from the Middle Paleolithic to the Upper Paleolithic in Europe was the emergence of representational charcoal drawings and engravings by Aurignacian and Gravettian artists. European Neanderthals never engaged in representational drawing during the Middle and Early Upper Paleolithic, a property that might reflect less developed visuomotor coordination. This article postulates a causal relationship between an evolved ability of anatomically modern humans to throw spears accurately while hunting and their ability to draw representational images from (...) working memory. Unlike Neanderthals, archaic and anatomically modern humans in sub-Saharan Africa adopted longer-range hunting practices using hand-cast spears as a compensation for the emergence of increasingly wary game. For Neanderthals, paleoclimatic fluctuations likely precluded consistent hunting of cold-adapted game, a property making game more approachable for close-range hunting with thrusting spears. As evidence of less historical wariness of humans, many of the species hunted by Neanderthals were eventually domesticated. Due to strong sources of natural selection on archaic and anatomically modern humans for effective hunting, the parietal cortex that integrates visual imagery and motor coordination expanded progressively, yielding the globular shape of the human cranium that is not evident in Neanderthals. To characterize how the cognitive properties employed for throwing spears and drawing line work are similar, the Upper Paleolithic drawings of animals in Chauvet cave, France, are discussed in the speculative context of how these artists engaged simultaneously in overt attention to guide their hand movements and covert attention to their mental images during the drawing process. (shrink)

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 (...) upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era. This book is based on extensive archival research in Canada, the USA and Europe, and will be of interest to architects, artists, researchers and students in architecture, architectural history, theory, cultural theory, philosophy and aesthetics. (shrink)

In vitro gametogenesis (IVG) might offer numerous research and clinical benefits. Some potential clinical applications of IVG, such as allowing opposite‐sex couples experiencing infertility to have genetically related children, have attracted support. Others, such as enabling same‐sex reproduction and solo reproduction, have attracted significantly more criticism. In this paper, we examine how different ethical principles might help us to draw lines and distinguish between ethically desirable and undesirable uses of IVG. We discuss the alleged distinction between therapeutic and non‐therapeutic uses (...) of assisted reproduction in the context of IVG, and show how it is both problematic to apply in practice and theoretically dubious. We then discuss how the ethical principles of reproductive justice and beneficence apply to IVG for opposite‐sex reproduction, same‐sex reproduction, and solo reproduction. We suggest that these principles generate strong reasons for the use of IVG for opposite‐sex and same‐sex reproduction, but not for solo reproduction. (shrink)

Mandala drawing was first practiced by Tibetan buddhists and then developed by Carl Gustav Jung, who felt certain that mandala drawing has the function of integrating psychological division, enhancing psychological harmony, and preserving personality integrity. Previous studies on mandala drawing have mainly focused on alleviating people’s negative emotions, such as anxiety and depression. Therefore, this study explored the effect and mechanism of mandala drawing on the improvement of subjective well-being (SWB), mindfulness, and spirituality from positive psychology’s (...) viewpoint and compared the different effects of cooperative mandala drawing (CMD) and individual mandala drawing (IMD) on mindfulness, spirituality, and SWB. A total of 76 students were recruited from Chang Gung University, and the aforementioned three main variables were measured before and after the coloring experiment. The results indicated that both CMD and IMD significantly enhanced the subjects’ spirituality. Compared with IMD, CMD has a more significant improvement and promotion effect on SWB of subjects by affecting PA, while IMD had no significant effect on PA, and the enhancement effect of SWB was weaker than that of CMD. Mindfulness, spirituality, and SWB all positively correlated with each other. This study highlights the mechanism of mandala drawing and the theoretical understanding of the relationship between mindfulness and SWB. Mandala drawing especially CMD has a positive effect on spirituality and SWB, which may provide individuals with a simple and easy method to improve their happiness. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'the line‐drawing fallacy'. Many logic or critical thinking textbooks treat the line‐drawing fallacy as a footnote to or subcategory of another fallacy. They view it as a variation of vagueness, false dilemma, slippery slope, or the perfectionist fallacy. Depending on how one interprets a key premise or central term of the argument, detecting a line‐drawing fallacy can take several forms. The chapter discusses these forms. To (...) correct or to prevent the absurd conclusions, logicians try to identify and/or explain the nature of the line‐drawing fallacy. Several line‐drawing‐related fallacies immediately arise, from false dilemma to straw man. Yet this exercise is too obvious to help a student discern the underlying difficulty in recognizing the line‐drawing fallacy or avoiding the paradox it raises. (shrink)

Figurative drawing is a skill that takes time to learn, and it evolves during different childhood phases that begin with scribbling and end with representational drawing. Between these phases, it is difficult to assess when and how children demonstrate intentions and representativeness in their drawings. The marks produced are increasingly goal-oriented and efficient as the child’s skills progress from scribbles to figurative drawings. Pre-figurative activities provide an opportunity to focus on drawing processes. We applied fourteen metrics to (...) two different datasets (_N_ = 65 and _N_ = 344) to better understand the intentional and representational processes behind drawing, and combined these metrics using principal component analysis (PCA) in different biologically significant dimensions. Three dimensions were identified: efficiency based on spatial metrics, diversity with color metrics, and temporal sequentiality. The metrics at play in each dimension are similar for both datasets, and PCA explains 77% of the variance in both datasets. Gender had no effect, but age influenced all three dimensions differently. These analyses for instance differentiate scribbles by children from those drawn by adults. The three dimensions highlighted by this study provide a better understanding of the emergence of intentions and representativeness in drawings. We discussed the perspectives of such findings in comparative psychology and evolutionary anthropology. (shrink)

With its inherent attributes such as qualitative immediacy, imaginativeness, and embodiment, John Dewey’s concept of aesthetic experience makes a difference in moral education, in the ways of empathetic moral perception, moral reasoning, and moral action. If it matters then how can we help students gain aesthetic experience? By analyzing teacher Ho-Chul Lee’s approach to teaching drawing, called living drawing, this question is examined in terms of aesthetic style of teacher and teaching, and the aesthetic educational environment. This article (...) will provide insights into how living drawing as an approach promotes aesthetic experiences and how it influences students’ moral experiences. (shrink)

In this article, we use an entry to an international architectural student competition on future care to explore how social norms about older bodies may be challenged by designs that are sensitive to the spatial contexts within which we age. The power of the My Home design by Witham and Wilkins derives from its hand-drawn aesthetic and thus we consider the architects’ insistence on drawing as a challenge to the clear and unambiguous image-making typically associated with digitally aided architectural (...) designs. The hand-drawn images of My Home prompt a focus on care as enacted through the relations between material environments and things, and the atmospheric qualities these relations evoke. Throughout our analysis, we argue for greater attention to the ways in which embodied practices, everyday affects and materialities can be represented within architectural design, and the role of hand drawing as a creative methodology in this process. (shrink)

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.

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 (...) of shared automatic cognition and resonance. To demonstrate the value of productive methods, I describe my method of asking focus group participants to devise and draw AIDS campaign posters collectively. I then 1) show how this productive method made visible distinct moments of both automatic and deliberative cognition, 2) offer an operational definition of resonance and demonstrate how the process of drawing revealed moments of resonance, and 3) suggest how this method allowed me to investigate the relationship between cognition and resonance and their effect on action. To conclude, I discuss strategies for using productive methods and advocate for their use in measuring culture. (shrink)

The most popular position in the moral luck debate is to reject resultant moral luck while accepting the possibility of other types of moral luck. But it is unclear whether this position is stable. Some argue that luck is luck and if it is relevant for moral responsibility anywhere, it is relevant everywhere, and vice versa. Some argue that given the similarities between circumstantial moral luck and resultant moral luck, there is good evidence that if the former exists, so does (...) the latter. The challenge is especially pressing for the large group that exclusively deny resultant moral luck. I argue that rejecting resultant moral luck alone is a stable and plausible position. This is because, in a nutshell, the other types of luck can but the results of an action cannot affect what makes one morally responsible. (shrink)

Deleuze's publications have attracted enormous attention, but scant attention has been paid to the existential relevance of Deleuze's writings. In the lineage of Nietzsche, Life Drawing develops a fully affirmative Deleuzean aesthetics of existence. For Foucault and Nehamas, the challenge of an aesthetics of existence is to make your life, in one way or another, a work of art. In contrast, Bearn argues that art is too narrow a concept to guide this kind of existential project. He turns instead (...) to the more generous notion of beauty, but he argues that the philosophical tradition has mostly misconceived beauty in terms of perfection. Heraclitus and Kant are well-known exceptions to this mistake, and Bearn suggests that because Heraclitean becoming is beyond conceptual characterization, it promises a sensualized experience akin to what Kant called free beauty. In this new aesthetics of existence, the challenge is to become beautiful by releasing a Deleuzean becoming: becoming becoming. Bearn's readings of philosophical texts--by Wittgenstein, Derrida, Plato, and others--will be of interest in their own right. (shrink)

In What Is Philosophy?, Gilles Deleuze and Félix Guattari distinguish the functions of philosophy, art and science. According to this distinction, the primary purpose of philosophy is to invent concepts, the purpose of art to bring forth percepts, or sensorial aggregates, and that of science to delineate functions. This article aims to show that these distinctions are not as clear-cut as they appear. Using Deleuze and Guattari’s proposition that ‘philosophy is the art of forming, inventing, and fabricating concepts’ as a (...) reference point, it suggests that the corresponding philosophical practice is intimately connected to art and science. Studying the conceptual drawings in Deleuze’s texts, the article situates his philosophy in the French tradition of epistemology (Cavaillès, Bachelard and Canguilhem). As a result, the conceptual work of this philosophy can be seen as intensively responding to the creative problems posed by the dynamics of science in contemporary societies. (shrink)

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 (...) in general. We analyse the messages they address, the aesthetics and material form they use, the methodologies they practice or the social changes they cause. In this regard, through a selection of contemporary projects, we can identify more effective representative artistic characteristics that are consistent with our current world. In conclusion, we emphasize that the practice of public art is more significant and necessary than it seems. (shrink)

Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. (...) Section 3 considers those definitions of pornography that make an a priori distinction between pornographic and artistic representations. The difference between the ‘merely’ erotic and the pornographic is also discussed in this context. Section 4 provides a critical assessment of the most recent and elaborate arguments against the compatibility of pornography and art. Finally, in Section 5, a case is made for the existence of pornographic art, as a subcategory of erotic art. (shrink)

Because psychological studies of attention and cognition are most commonly performed within the strict confines of the laboratory or take cognitively impaired patients as subjects, it is difficult to be sure that resultant models of attention adequately account for the phenomenon of effortless attention. The problem is not only that effortless attention is resistant to laboratory study. A further issue is that because the laboratory is the most common way to approach attention, models resulting from such studies are naturally the (...) most widely propagated, these models naturally tend to be biased toward features of attention most amenable to laboratory study, and these models by their implications set the agenda for future study that leads back to the laboratory. In this self-reinforcing system, features of attention not amenable to laboratory study are naturally neglected by researchers. In this chapter, I suggest an alternative model of attention as a heuristic for opening paths to further profitable research. The features of attention emphasized in this model are not new, but the synthesis is novel and sheds some light on issues relevant to the topic of effortless attention. I begin with the five following observations: 1. One naturally pays attention to a task of current interest. 2. There are (at least) two distinct modes of attention—selective and diffuse. 3. Attention is a constantly shifting avenue for the assimilation of information. 4. Information is not forced in from outside but is captured through internal sensitization. 5. Human information processing is fundamentally syntactic. Combining these five observations yields an explanatory model of attention that is not only consistent with the data from the many studies on attention in recent decades but also allows us to investigate the neglected phenomenon of effortless attention. The model relies on the notions of apertures, draw, and syntax and is explicated by addressing each of the above observations in turn. In the final part of the chapter, I explore how the model expands our understanding of effortless attention. (shrink)

The literature on drawing provides a justification for using drawing in the teaching of philosophy. The aim of the essay is to show how drawing as a pedagogy, though unusual in philosophy, fulfills high-quality teaching desiderata: make it personal, go beyond the text, allow students to show and explain their work, and unify the work of the course. I explain these four desiderata and how students complete drawing exercises to develop understanding, generate insights, and make philosophic (...) discoveries. I begin by explaining and justifying the pedagogical desiderata. I discuss the literature on drawing-to-learn and concept mapping and apply its insights to teaching philosophy. Finally, I describe my exercises on color theory, two-point perspective exercises, my modifications to concept mapping, and the use of summative drawings. (shrink)

ABSTRACT This article investigates drawing as a form of devotional attention. Engaging with the work of María Lugones and examples from Josef Albers, Corita Kent, Franz Opalka, Georgia O’Keeffe, and William Kentridge, each section revolves around drawing in relation to embodied practices of being together with others. In addition to a personal account of memories and rituals of drawings, this article examines the degree to which drawing hones a pragmatic sense for fallibility, fluidity, and open-ended research, while (...) arguing for drawing as a form of commitment to community that challenges historical associations of creativity with individualistic or uninhibited freedom. (shrink)

In Drawing the Line, philosopher Samuel Gorovitz examines the ethical questions that permeate the daily lives of medical professionals: Who should be making life and death decisions? How should scarce medical resources be allocated? What rules should govern the use of fetal tissues in research? Where should we draw the line?The questions are rooted in the author's seven-week observation of events at Boston's Beth Israel hospital. Gorovitz shares with readers an intense, disturbing, and insightful account of operating rooms, intensive (...) care units, surgeons' meetings, and administrative discussions of competition in the health-care market. His unusual look at contemporary health care combines startling reality with the provocative reflections of a highly respected philosopher. Author note: Samuel Gorovitz is Dean of the College of Arts and Sciences and Professor of Philosophy at Syracuse University. He is also the author of the widely hailed Doctors' Dilemmas. (shrink)

Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists.

This article aims to acknowledge the bodily complexity of the drawing experience by regarding bodily movement as a teaching modality. Theoretically and methodologically, the article explores the didactic potential of variation in relation to phenomenography, artistic practice, and the Feldenkrais Method of movement. Two interdisciplinary drawing workshops were held, combining drawing with Feldenkrais intraventions. The participants’ drawings were analyzed, with the assumption that changes in the bodily experience of drawing would be discernable in the lines on (...) the paper. The results indicate that the Feldenkrais intraventions affected the bodily experience of drawing. Changes in the bodily experience were discerned and described in terms of proprioceptive presence, with reference to Jennifer Fisher's concept of haptic aesthetics. Two kinds of presence were brought to the fore: a presence defined as being present in the moment, and a presence defined as an increased sensibility towards three-dimensional volume and space. Both kinds are subtle qualities of bodily performativity that tend to go unnoticed in educational settings, in favor of visual or more explicitly performative bodily expressions. A relational epistemological approach is put forth as a way to acknowledge performative qualities of the drawing experience in teaching and learning. (shrink)

Why do some artists draw upon surfaces with pre-existent categories of the sign or what the author calls “expendable surfaces of inscription”. These surfaces are one of the mediate modes of the author’s model of Transitional Multi-Mode practices. The expendability of the surface on which the artist draws serves to postpone premature closure because open to destruction or eventual survival, and as such are what Winnicott, in his psychoanalytic theory of object relations, calls a “Transitional object” that serves to generate (...) a “potential space” between the inside and the outside that, following Winnicott, is the source of all subsequent cultural and creative experience. Following both Lacan on the “object a” and Bracha Ettinger on the matrixial we explore an additional reason for the artist’s choice of the expendable surface of inscription as a response that wells up from the unconscious in the interweaving and condensation of the pre-existent signs and those that are superimposed upon it. In the context of secondary and tertiary education the use of the expendable surface of inscription enables the student to work with indeterminacy, with non-finito forms of signification, and with a provisionality that allays the anxiety and intellectual uncertainty of forestalling premature closure. Following Stables on language acquisition our research has revealed that drawing in dialogue with the other is the way the artist and student acquires the use of the expendable surface of inscription. Eventually, the student’s choice of the surface may provide access to an unconscious response to the arrangement of signifiers on the surface of inscription that corresponds to Stables’ notion of the sign as an “event” rather than a substitute. (shrink)

The majority of Pleistocene figurative cave art in Western Europe consists of line drawings depicting large herbivores from the side view, and outlines were sometimes abbreviated to the head-neck-dorsal line. It is often assumed that the side view was used because it facilitates animal recognition compared to other views, and that abbreviated outlines were used as an economic mode of representation compared to complete outlines. To investigate these claims, we present an ecological approach to picture perception and discuss its implications (...) for the study of cave art. We then report an experiment conducted to examine the roles of perspective and abbreviation in cave art in relation to two roles: communicating about specific animals and inducing aesthetic appreciation. Participants were shown outlines of animals (bison, horse, hind, and ibex), which varied in terms of perspective (frontal, fronto-oblique, side, rear-oblique, or rear view) and abbreviation (complete or abbreviated). They were instructed to quickly identify them and to rate their aesthetic value. We found that side and oblique views provide equivalent information, equally facilitating recognition and inducing aesthetic appreciation; and that the information from the side and oblique views is richer than the frontal and rear views. We also found that complete outlines facilitate recognition and induce more aesthetic appreciation compared to abbreviated outlines. Contrary to common assumptions, side views are not simply motivated by ease of recognition. Facts of ecological optics, production effort, and available drawing techniques must also be considered. Abbreviation may also be contingent on participation in a shared history of communicative practices and on production effort, as its possible prevalence further from cave entrances might partly be motivated by the need to draw quickly, as the light was scarce. Our experimental results point to a complex interplay of perceptual, technical, and cultural factors in the development of early figurative art and show how an ecological approach to (picture) perception can bring new insights to inform these discussions. (shrink)

Traditional medical ethics and law draw a sharp distinction between allowing a patient to die and helping her die. Withholding or withdrawing life sustaining treatment, such as by abating technological nutrition, hydration or respiration, will cause death as surely as a lethal injection. The former, however, is a constitutional right for a competent or once-competent patient, while the latter poses a risk of serious criminal or civil liability for the physician, even if the patient requests it.

Despite the numerous studies on children’s symbolic understanding of metaphors, much remains unknown about the facilitating effect of drawings on the comprehension of metaphor and how it is associated with drawing skills and metaphor explicitness among young speakers of logo-graphic languages. To this end, 139 Chinese children between 7 and 11 year’s old were administered to three experimental conditions of draw-explain, explain-draw, and draw-explain-draw. The results indicate that high-drawing-skill children produced more symbolic but less literal interpretations than low- (...) class='Hi'>drawing-skill group, and children produced more symbolic but less literal interpretations of high explicit metaphors than low explicit ones. Moreover, children’s understanding of metaphors is facilitated and significantly influenced by their level of drawing skills and the degree of each metaphor’s explicitness. To be specific, drawings only increased the number of symbolic interpretations of high-drawing-skill children in their understanding of low and high explicit metaphors, but they did not work for low-drawing-skill children in their understanding of low explicit metaphors. An enhanced effect of repeated drawings was found on metaphorical comprehension, suggesting that alternating drawings and verbal interpretations could be more effective to facilitate metaphor understanding, especially for children with low drawing skills. (shrink)

In his book, Physical Relativity, Harvey Brown challenges the orthodox view that special relativity is preferable to those parts of Lorentz's classical ether theory it replaced because it revealed various phenomena that were given a dynamical explanation in Lorentz's theory to be purely kinematical. I want to defend this orthodoxy. The phenomena most commonly discussed in this context in the philosophical literature are length contraction and time dilation. I consider three other phenomena of this kind that played a role in (...) the early reception of special relativity in the physics literature: the Fresnel drag effect in the Fizeau experiment, the velocity dependence of electron mass in beta-ray deflection experiments by Kaufmann and others, and the delicately balanced torques on a moving charged capacitor in the Trouton-Noble experiment. I offer historical sketches of how Lorentz's dynamical explanations of these phenomena came to be replaced by their now standard kinematical explanations. I then take up the philosophical challenge posed by the work of Harvey Brown and Oliver Pooley and clarify how those kinematical explanations work. (shrink)

This chapter begins by drawing attention to some rather striking parallels between the notions of “drawing an _x_ ” and “seeing an _x_. ” These parallels, articulated in terms of a distinction between ontic and non-ontic interpretations, are then extended to the notion of “referring to an _x_. ” Where the _x_ putatively referred to is a hallucination, as in the case of Macbeth’s infamous dagger, reference is to be interpreted _non-ontically_: there exists no _x_ (real or imaginary) (...) to which the speaker refers. However, via a kind of hypostatization that occurs when an experience _as of_ an _x_ is mistaken for an experience _of_ an _x_, an abstract artifact is created to which the hallucinating speaker can meaningfully be said to refer. (shrink)

The paper is an exercise in descriptive ontology, with specific applications to problems in the geographical sphere. It presents a general typology of spatial boundaries, based in particular on an opposition between bona fide or physical boundaries on the one hand, and fiat or human-demarcation-induced boundaries on the other. Cross-cutting this opposition are further oppositions in the realm of boundaries, for example between: crisp and indeterminate, complete and incomplete, enduring and transient, symmetrical and asymmetrical. The resulting typology generates a corresponding (...) categorization of the different sorts of objects which (complete) boundaries determine or demarcate. The theory is applied first of all in the areas of geography and of administrative and property law. Indications are then given as to how the typology may be applied also in other fields where physical and fiat boundaries are at work, including the field of cognitive linguistics and the related field of the ontology of truth. (shrink)

I would often draw in front of the television, looking up on occasion at the screen. During the break between programmes, I would sit vigilantly in the hope that that ‘advert’ with the guns, the blood, and the dead father, wouldn’t come on. When it did, I would pause, unable to return to my drawing.Prior to the signing of the Belfast Agreement in 1998, the last decade of the ethno-national conflict in Northern Ireland saw the Northern Ireland Office produce (...) a series of hard-hitting adverts for Northern Irish television. The adverts were designed to change societal attitudes towards the conflict, largely through staged scenes of graphic violence intended to shock members of paramilitary groups from both sides of the political divide into stopping the bloodshed. A range of techniques were employed by producers to appeal to the public that sometimes bordered on clichéd representations of the violence. Despite the ambiguity of their effectiveness in changing hearts and minds in the country, the adverts had a resounding emotional impact through their use of relatable imagery, as evidenced in their depictions of lives destroyed by the violence.This research employs drawing as an autoethnographic survey of those adverts in order to reveal their affective qualities. Using pencil and tracing paper over still frames taken from the adverts, drawing is used to make connections between the author’s lived experience and to wider events that took place in the country at the time. The work employs Jaques Lacan’s theory of Extimacy to the conventions of the architectural section drawing, and seeks to show how another way of producing such a drawing might be achieved–one that recognises the mixing of both interior and exterior worlds of the drawer. In essence the project gives visual acknowledgement to the continued affective dimensions of these adverts, and in doing so attempts to transcend debates on their effectiveness at stopping the violence. (shrink)