The design of the book as object

Ankara : The Department of Graphic Design and Institute of Fine Arts, Bilkent Univ., 1997.Thesis (Master's) -- Bilkent University, 1997.Includes bibliographical references leaves 44-46.The book is an important cultural product that, as well as being a site in which text and image can be found, is first and foremost a physical object. To access a text there must always be a physical support through which the text is embodied. When this physical support takes the form of a book, it becomes a designed and coercive space. It also becomes a contributor to the ‘polyvocality’ of the text such that rather than the text being a multiplicity, the book as a whole becomes a multiplicity. This habitation of the text by the materiality of the book occurs because the physicality and visuality of the book helps determine readership. It also contributes to the interpretation and meaning that the reader believes the text possesses. The aim of this thesis is to explore and articulate questions as to how the materiality of the book comes to inhabit the text and what the designer’s response should be. It will be argued that designers should declare their presence in their work, that they should design the whole book and not just the cover, and also that they should seek a design that respects cultural diversity and historical change. The core of this thesis is the nine books I have designed. As such, they are my response to the semiotic and semantic load that the materiality of the book brings to the text.Steel, Jeremy CharlesM.S

The (Lack of) Evidence for the Kuhnian Image of Science

In their reviews of The Kuhnian Image of Science: Time for a Decisive Transformation? (2018), both Markus Arnold (2018) and Amanda Bryant (2018) complain that the contributors who criticize Kuhn’s theory of scientific change have misconstrued his philosophy of science and they praise those who seek to defend the Kuhnian image of science. In what follows, then, I would like to address their claims about misconstruing Kuhn’s theory of scientific change. But my focus here, as in the book, will be the evidence (or lack thereof) for the Kuhnian image of science. I will begin with Arnold’s review and then move on to Bryant’s review

H-Diplo ISSF round table: Steven Ward. status and the challenge of rising powers. Cambridge: Cambridge University Press, 2017.

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Becoming-Other: Foucault, Deleuze, and the Political Nature of Thought

In this paper I employ the notion of the ‘thought of the outside’ as developed by Michel Foucault, in order to defend the philosophy of Gilles Deleuze against the criticisms of ‘elitism,’ ‘aristocratism,’ and ‘political indifference’—famously leveled by Alain Badiou and Peter Hallward. First, I argue that their charges of a theophanic conception of Being, which ground the broader political claims, derive from a misunderstanding of Deleuze’s notion of univocity, as well as a failure to recognize the significance of the concept of multiplicity in Deleuze’s thinking. From here, I go on to discuss Deleuze’s articulation of the ‘dogmatic image of thought,’ which, insofar as it takes ‘recognition’ as its model, can only ever think what is already solidified and sedimented as true, in light of existing structures and institutions of power. Then, I examine Deleuze’s reading of Foucault and the notion of the ‘thought of the outside,’ showing the ‘outside’ as the unthought that lies at the heart of thinking itself, as both its condition and its impossibility. Insofar as it is essential to thinking itself, finally, I argue that the passage of thought to the outside is not an absolute flight out of this world, as Hallward claims, but rather, a return of the different that constitutes the Self for Deleuze. Thinking is an ongoing movement of deterritorialization and reterritorialization, or as Foucault says, death and life. Thinking, as Deleuze understands it, is essentially creative; it reconfigures the virtual, thereby literally changing the world. Thinking is therefore, according to Deleuze, thoroughly political

What a thirst it was: longing, excess and the genre-bending essay

Rachel Blau DuPlessis writes that the essay is restless, always a little too hungry, a little too thirsty (2006). Implicit in this statement is the fact that a good essay is full of desire and creates this response in readers too – building a thirst for more knowledge, for more emotion, for stimuli, satisfaction. Here the essay is unquenchable, undefinable and unsummarizable. This experimental essay talks about the practice and application of writing experimental essays and their capacity to be genre-bending, form-curious texts. Considering specific texts that explore artistic practice and/or, in their hybridity, bring image and text together in essential ways, the hybrid essay will emerge as a way of making, seeing, reading, interpreting and acquiring knowledge. By discussing intentional ambiguity, the unfamiliar familiar, knowledge in context, and the role of language and structure in the creation of presence, silence and absence in texts, this essay draws attention to the complications (and possibilities) of essays and their forms. The best essays create subtle, lively interactions between and within subjects, forms and languages that can howl and shape-shift in the final essay itself. These genre-bending essays can deepen and complicate the knowledge we make for ourselves – as we experience reverberations of meaning in the multiple readings each specific open text encourages. Included here is the writing and thinking of Anne Carson, Gertrude Stein, Rachel Blau DuPlessis, Lyn Hejinian and others

Clipping Our Own Wings: Copyright and Creativity in Communication Research

Presents survey findings on how knowledge of copyright issues affects communication scholars' research decisions, access, and publication. Recommends developing best practices standards for the U.S. doctrine of fair use to expand creative options

Meaning and Understanding

Explores the central role in Wittgenstein's later work of his opposition to a 'mechanistic' conception of understanding. Offers a diagnosis of Kripke's skeptical paradox on this basis

Enchantment Dissolved : A Reexamination of the Hymn\u27s Authorship and Significance in the Commonplace MS. Hannah Swynock

“Enchantment Dissolved” is a hymn written by John Newton and a part of the first publication of the Olney Hymns in 1779. However, starting around the year 1803, the hymn was misattributed in multiple publications to William Cowper, the second author of the collection. This article will analyze Cowper’s literary style and consider why the hymn may have been mistaken for his creation. This particular hymn also appears in a 17-18th century commonplace, Hannah Swynock 1687, in the Parker MSS. at the Lilly Rare Book Library at Indiana University. In this hand-written manuscript, the hymn has four additional verses that are not found in print. This article also analyzes those four verses in comparison to the original five to determine whether the author of the addition was mimicking the style and themes of “Enchantment Dissolved.” Commonplaces had many uses and sometimes multiple scribes or purposes, so it can be difficult to draw conclusions from one entry. However, theorizing about the source and purpose of this hymn and its addition in the context of the manuscript is important for understanding how the commonplace was used and by whom