Science versus the Humanities: Hyman on Wollhein on Depiction

I criticize John Hyman’s criticism of Richard Wollheim’s account of depiction or pictorial representation. The underlying issue appears to be fundamental: do we go with Hyman’s account of the essence of depiction as straightforwardly geometrical, or do we agree with Wollheim that depiction must be understood as proceeding through the human mind

Seeing the music in their hands: How conductors' depictions shape the music

Depiction is a way of ‘showing’ meaning through certain gestures or demonstrations. Conductors often use depiction, including multimodal depiction, as well as descriptive talk, to convey meaning to their choirs. This paper considers four short extracts from choir rehearsals with different conductors, to show how they combine description and depiction, including vocal models, facial expressions, metaphoric and iconic gestures and body language to communicate about music, specifically here as part of the activity of modelling

Understanding How Graphic Pictorial Warnings Work on Cigarette Packaging

The 2009 Family Smoking Prevention and Tobacco Control Act requires cigarette packages to contain stronger warnings in the form of color, graphic pictures depicting the negative health consequences of smoking. The authors present results from a between-subjects experiment with more than 500 smokers that test (1) the effectiveness of pictorial warnings that vary in their graphic depiction of the warning and (2) an underlying mechanism proposed to drive potential effects of the manipulation of the graphic depiction. The findings indicate that more graphic pictorial warning depictions strengthen smokers’ intentions to quit smoking. Recall of warning message statements is reduced by moderately or highly graphic pictures compared with a no picture control or less graphic pictures. The results also show that the graphic warnings affect evoked fear, and in turn, fear mediates the effects of the graphic warning depiction on intentions to quit for the sample of smokers. This pattern of results indicates that though ighly graphic pictures may reduce specific message recall and limit the direct effect of recall on intentions to quit, highly graphic pictures increase intentions to quit smoking through evoked fear (i.e., fear fully mediates the effect of the graphic depiction level). The authors discuss implications for consumer health and policy decisions

Resemblance As Repleteness: A Solution To Goodman’s Problem

In this paper I consider the view that Goodman altogether rejects the notion of resemblance in depiction. I argue that, although Goodman’s case seems to be a decisive challenge, he can in fact hold a positive view of resemblance if we weaken the standard usage of the word ‘resemblance’. The result of this is that Goodman’s commitment to the notion of repleteness enables him to say that pictures can and do resemble their subjects, as resemblance relies on the relative complexity of the depiction

Processing of ERTS imagery for dissemination purposes

The author has identified the following significant results. This work reveals that the normal color composite rendition of land areas is not suitable for the depiction of clear shallow seas where optimum depiction of the sea bottom is critical. Either in the digital or analog, domain response must be altered from that now employed for land areas

That \u2770s Show: A Realistic Depiction of Sexism

Overview: I have been a loyal viewer of the hit sitcom, That ‘70s Show, for years. In total, I have probably watched the entire series two or three times. However, it was not until recently that it struck me how sexist the show was. Upon first watching That ‘70s Show, I thought it was a surface-level sitcom celebrating the colorful and hazy 1970s. After rewatching and evaluating the stances presented in multiple episodes, however, I see that it is more representative of society’s view on women than I originally thought. I believe that both the subtle and obvious sexism in That ‘70s Show, which is shown throughout the entire series, is an accurate representation of the time period the show is based on and made in, but many of the viewers, including myself, overlook the problematic nature of the show because it is shown in a light hearted and joking manner. Author\u27s Reflection: My name is Meleah Hartnett, and I am a Media and Communication major here at St. John Fisher College. I minor in Film and TV Studies. My research paper focuses on the sexism shown in That ‘70s Show. I wrote about That ‘70s Show because it has been a favorite of my family’s for years; we actually have the box set of all of the seasons on DVD. I was rewatching it, for probably the third time, when I was deciding what I wanted my 199 research project to be, and finally caught on to the sexist undertones of the show. The process of writing this paper was more enjoyable than I anticipated it would be, probably because the majority of my research involved watching a show. A challenging aspect of the process was finding perfect moments in the show to illustrate my point. There were plenty of sexist scenes to choose from, but I wanted ones that had a punch to them. It was also very time consuming. When it came to writing, I found it difficult to focus on a few major topics. Once I started looking for issues in the show, it was hard to stop. Originally, I was going to also discuss the issue of race and racism in my paper, but my professor advised me to narrow my focus. The 199 experience has helped me grow comfortable with writing in a more structured form. I have always loved writing, but had never found it enjoyable to write in a research-based writing style. This class taught me that there could be just as much freedom and creativity in this style of writing as creative writing. The intimidation of writing in such a long form has also lessened after taking this class. Professor Styrt\u27s Reflection: Meleah was a very focused student. She grasped the course’s emphasis on how we depict other times quickly and went immediately to the topic of That ’70s Show. The most impressive element of her progress was her dogged pursuit of sources; as you can imagine, ’90s TV does not have a lot of scholarly material written on it yet, and so she had to rely extensively on primary documents mixed with her own cogent analysis. One of her main areas of work was on her counterargument, where she had to do a lot to portray the opposing voices carefully and fairly

Enacting Smoke, Lilies, and Jade as Black Gay Print Culture

This essay offers a comparative analysis of the ways that Isaac Julien\u27s Looking for Langston (1989) and Rodney Evans\u27s Brother to Brother (2005) inscribe Richard Bruce Nugent\u27s landmark short story Smoke, Lilies, and Jade (1926). Both films are examples of how Smoke, which was first published in the short-lived but infamous journal FIRE!!, now functions as much more than an artifact from the Harlem Renaissance\u27s dynamic print culture. As I contend through this analysis, Smoke is a central diegetic element in both films. It enables Looking\u27s visual depiction of the sojourn that Nugent\u27s protagonist Alex has with his male lover Beauty and Brother\u27s depiction of an intergenerational collaboration that honors Nugent as a black gay male artist. Through honorific interpretations of Smoke, Lilies, and Jade, Looking for Langston and Brother to Brother affirm a black gay print culture as indispensable to black gay film

No Time to Move: Motion, Painting and Temporal Experience

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis

HBO Series Girls and Insecure’s Depiction of Race and Gender

In this research study the identification and representation of race and gender were looked at in the primetime HBO television series Insecure and Girls. The characters that were analyzed in two episodes were the young black women of Insecure and in two episodes the young white women in Girls. The method for this study was conducted using content analysis to identify the following variables focusing on identity, racial stereotypes and names used to address one another. Additionally, variables to identify gender included emotional approaches to situations, stereotypes and gender role expectations. The comprehensive findings revealed through similarities and differences of the episodes containing similar plot lines, as well as the overall analysis of each show, gave insight on how race and gender is being presented. Consistently throughout each of the episodes in terms of gender representation, emotional approaches to situations was the variable with a fair amount of content found. Although anticipated prior to conducting research, gender role expectations were shown less often by the women in each series. Race identity was another variable chosen that also resulted as being less frequently identifiable. In terms of race and gender stereotypes that were looked at, gender stereotypes were more prominent within each of the episodes. The variable used to identify race in each episode, names used to address one another, were mentioned more throughout the episodes of Insecure than in Girls