Now showing items 1-10 of 10
From Plato to Socrates: Wittgenstein's Journey on Collingwood's Map
How can I learn and help others to learn to mean more precisely by saying, doing and making things? By attending to how Ludwig Wittgenstein and Robin Collingwood answered that question during the first half of the twentieth ...
Filmmaking, Logic and the Historical Reconstruction of the World
An assessment in historical context of how and what filmmakers, logicians and philosophers could have learned from one another about the rudiments of their crafts.
Nelson Goodman's 'Theory of Symbols': an Exposition and Critique
Notes in outline form for a presentation on 13 February 1985 to the 'Media, Mind and Society' seminar of David R. Olson, Co-Director of the McLuhan Program in Culture and Technology of the University of Toronto, on the ...
Michelson, Morley and Me: How We See, Hear and Hear Movies
The Michelson-Morley experiment of 1887 was the watershed in our coming to understand how differently waves propagate. As such, it ought also to have been the watershed in our coming to understand how hearing differs from ...
KING KONG, Carroll and Currie: Misconstruing Monstrously How We See Things by Means of Movies
Two confusions have vitiated recent philosophical discussions about filmmaking: the presumption of Nöel Carroll that discrimination entails essentialism and the presumption of both Carroll and Gregory Currie that we cannot ...
'In My Mind's Ear': Misconstruing Sounds as Sights – a Philosophical and Cinematical Caution
The notion of 'imaging' music ought to perplex us philosophically, for 'to imagine' is a verb of visualisation. Hearing musical events may cause us to imagine things, and seeing things may cause us to think of hearing ...
'In a Moment of Brilliance': Heidegger's Horsemen, HIGH NOON and the Existential Sentiment of 'Westerns'
By evidence and common consent, great 'western' movies are mythical encompassing a Weltanschauung that has engaged viewers within diverse cultures for over a century. Questions recur, however. What makes them so? and why ...
Kant and Aesthetics: an Introduction
A brief introduction to Kant's Third Critique as presented in November 1986 at the request of Professor Seth Feldman to the undergraduate students enrolled within his 'Introduction to Fine Arts' course of the Fine Arts ...
Santayana's Missing Pages: Learning by Recollecting How We Use Photographs
Sometime between 1900 and 1907 George Santayana addressed the Harvard Camera Club on 'Photography and the Mental Image', noting that his remarks seemed to him 'of some importance'. They were indeed, for his talk marked the ...
McLuhan's Method: the Mad Hatter at Tea with Austin and Wittgenstein
What was McLuhan doing? How was he doing it? Was it important? Within this essay I try to answer those questions by linking what he said and did, and how he did it, with the ways and means of the seemingly dissimilar ...