The twelve essays by Kendall Walton in this volume address a broad range of theoretical issues concerning the arts. Many of them apply to the arts generally-to literature, theater, film, music, and the visual arts-but several focus primarily on pictorial representation or photography. In "'How Marvelous!': Toward a Theory of Aesthetic Value" Walton introduces an innovative account of aesthetic value, and in this and other essays he explores relations between aesthetic value and values of other kinds, especially moral values. Two of the essays take on what has come to be called imaginative resistance-a cluster of puzzles that arise when works of fiction ask us to imagine or to accept as true in a fiction moral propositions that we find reprehensible in real life. "Transparent Pictures", Walton's classic and controversial account of what is special about photographic pictures, is included, along with a new essay on a curious but rarely noticed feature of photographs and other still pictures-the fact that a depiction of a momentary state of an object in motion allows viewers to observe that state, in imagination, for an extended period of time. Two older essays round out the collection-another classic, "Categories of Art", and a less well known essay, "Style and the Products and Processes of Art", which examines the role of appreciators' impressions of how a work of art came about, in understanding and appreciation. None of the reprinted essays is abridged, and new postscripts have been added to several of them.

The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature of pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary.

Each chapter presents a detailed background of the described method, its theoretical foundations, and its applicability to different biomedical material. Updated chapters describe either the most popular methods or those processes that have evolved the most since the past edition. Additionally, a large portion of the volume is devoted to clinical cytometry. Particular attention is paid to applications of cytometry in oncology, the most rapidly growing area. - Contains 56 extensive chapters authored by world authorities on cytometry - Covers a wide range of topics, including principles of cytometry and general methods, cell preparation, tandardization and quality assurance, cell proliferation, apoptosis, cell-cell/cell-environmental interactions, cytogenetics and molecular genetics, cell function and differentiation, experimental and clinical oncology, microorganisms, and infectious diseases - Describes in-depth the essential methods and scientific principles of flow and laser scanning cytometry and illustrates how they can be applied to the fields of biology and medicine - Complements the first and second editions on flow cytometry in the Methods in Cell Biology series and includes new sections on technology principles

A touching tribute to Canada's tenth province, this book tells the story of a ruggedly beautiful landscape through the words of its people and the photographs of two exceptional photojournalists.

How engineers and clinicians developed the ultrasound diagnostic scanner and how its use in obstetrics became controversial. To its proponents, the ultrasound scanner is a safe, reliable, and indispensable aid to diagnosis. Its detractors, on the other hand, argue that its development and use are driven by the technological enthusiasms of doctors and engineers (and the commercial interests of manufacturers) and not by concern to improve the clinical care of women. In some U.S. states, an ultrasound scan is now required by legislation before a woman can obtain an abortion, adding a new dimension to an already controversial practice. Imaging and Imagining the Fetus engages both the development of a modern medical technology and the concerted critique of that technology. Malcolm Nicolson and John Fleming relate the technical and social history of ultrasound imaging—from early experiments in Glasgow in 1956 through wide deployment in the British hospital system by 1975 to its ubiquitous use in maternity clinics throughout the developed world by the end of the twentieth century. Obstetrician Ian Donald and engineer Tom Brown created ultrasound technology in Glasgow, where their prototypes were based on the industrial flaw detector, an instrument readily available to them in the shipbuilding city. As a physician, Donald supported the use of ultrasound for clinical purposes, and as a devout High Anglican he imbued the images with moral significance. He opposed abortion—decisions about which were increasingly guided by the ultrasound technology he pioneered—and he occasionally used ultrasound images to convince pregnant women not to abort the fetuses they could now see. Imaging and Imagining the Fetus explores why earlier innovators failed where Donald and Brown succeeded. It also shows how ultrasound developed into a "black box" technology whose users can fully appreciate the images they produce but do not, and have no need to, understand the technology, any more than do users of computers. These "images of the fetus may be produced by machines," the authors write, "but they live vividly in the human imagination."

What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy of “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein.

A singular collection of original essays exploring the varied intersections of motion pictures and public value A Companion to Motion Pictures and Public Value presents a cross-disciplinary investigation of the past, present, and possible future contributions of the moving image to the public good. This unique volume explores the direct and indirect public value developed through motion pictures of different types, genres, and screening sites. Essays by world-renowned scholars from diverse disciplines present original conceptual work, philosophical arguments, historical discussion, empirical research, and specific case studies. Divided into seven thematically organized sections, the Companion identifies the various kinds of values that motion pictures can deliver, amongst them artistic, ethical, environmental, cultural, political, cognitive, and spiritual value. Each section includes an introduction in which the editors outline main themes and highlight connections between individual chapters. Throughout the text, probing essays interrogate the issue of public value as it relates to the cinema and provide insight into how motion pictures play a positive role in human life and society. Featuring original research essays on a pioneering topic, this innovative reference text: Brings together work by expert authors in disciplines such as Philosophy, Political Science, Cultural Studies, Film Studies, Sociology, and Environmental Studies Discusses a variety of institutional landscapes, policy formations, and types and styles of filmmaking Provides wide and inclusive coverage of cinema’s relation to public value in Africa, Asia, China, Europe, the Middle East, and the Americas Explores the role of motion pictures in community formation, nation building, and the construction of good societies Covers new and emerging topics such as cinema-based fields focused on health and wellbeing A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines

Neary argues that each type of imagination, analogical and dialectical, is the other's supplement, they need each other to create a vision that is sharp, rich, and whole."--BOOK JACKET.

Fashion Nation argues that popular images of the United States as a place of glitter and lights, of gaudy costumes and dizzying visual surfaces—usually understood as features of technomodernity—were in fact brewed in the rich, strange world of early nineteenth-century British and European folk nationalism when nations were compelled to offer visual manifestations of their allegedly true ancestral form. Showing that folk and ethnic nationalism played a central role in writing and culture, the book draws on a rare and colorful visual archive of national costumes, cartoons, theatrical spectacles, and immersive entertainments to show how the United States sprung to life as a visual space for transatlantic audiences. Fashion Nation not only includes chapters on major U.S. travel writers like Nathaniel Parker Willis and James Fenimore Cooper, but it also presents explorations of the vogue for folk and ethnic costume, the role of Indigenous dress in Wild West spectacles, and the nationalistic décor on display at late nineteenth-century world’s fairs and amusement parks. Engagingly written and beautifully illustrated, Fashion Nation opens the door to a forgotten legacy of visual symbols that still inhabit ethnic and white nationalism in the United States today, showing how fantasies of glittery surfaces were designed to draw the eye away from a sordid history.