In this chapter, Laack analyzes a migration account visually depicted in the Mexican early colonial pictorial manuscript known as the Mapa de Cuauhtinchan No. 2. This pictographic map tells the story of a group of Aztecs leaving their primordial home, changing their social, cultural, and religious identity through migration and the passing of ordeals, and finally settling in the town of Cuauhtinchan. It is painted in the style of Aztec pictography, which used visual imagery to convey thoughts and meanings in contrast to alphabetical scripts using abstract signs for linguistic sounds. Drawing on the theories of embodied metaphors and embodied meaning by philosopher Mark L. Johnson and cognitive linguist George P. Lakoff, I argue that Aztec pictography offers efficient and effective means to communicate embodied metaphors on a visual level and evokes complex layers of embodied meaning. In doing so, I intend to change perspective on the narrative powers of religious stories by transcending textual patterns of analysis and theory building and opening up to non-linguistic modes of experience and their influence on narrative structures and strategies.
A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography
How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.
Sight and Sensibility: Evaluating Pictures
Publisher’s Note: Images have power – for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. ‘…tightly focused and carefully argued… an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines… lucid and meticulous’
Pictorial realism
Abstract: I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to see them. This account meets the criteria I have identified and is superior to alternative accounts of realism.
Who is afraid of Mimesis? Contesting the Common Sense of Indian Aesthetics through the Theory of ‘Mimesis’ or Anukaraṇa Vâda
Summary: A rejoinder to the claim that mimesis is unimportant in Indian art and aesthetics. Dave-Mukherji seeks to decolonize Indian aesthetics from its internalized Western ethnocentrism, according to which mimesis belongs to the domain of Western art and aesthetics, and open new, non-binary terrain for comparative aesthetics. She seeks to revive the complex theory of visual representation theorized in ancient Indian art treatises, particularly the concept of anukrti, a term she considers cognate to mimesis.
Clarifying the Images (Ming xiang)
Summary: From Wang Bi’s (226-249) seminal commentary on the Yi Jing (I Ching) or Classic of Changes. Bi catalogues and explains the relationship between images, ideas, language, and meaning. A key text that continues to be of importance in Chinese aesthetics, philosophy of language, and hermeneutics.
What is a Portrait?
Summary: Explores three fundamental claims: (1) portraits can be placed on a continuum between the specificity of likeness and the generality of type; (2) all portraits represent something about the body and face, on the one hand, and the soul, character, or virtues of the sitter, on the other; (3) all portraits involve a series of negotiations – often between artist and sitter, but sometimes there is also a patron who is not included in the portrait. NB: In the Introduction preceding this chapter West also questions the cliché that portraits are an invention of the Renaissance and an exclusively Western phenomenon.
Àkó-graphy: Òwò Portraits
Summary: Argues that the introduction of photography did not significantly interfere with, or terminate, the àkó legacy of portraiture. Shows instead that the stylistic elements of the àkó life-size burial effigy – a sculpted portrait that attempts to capture the physical likeness, identity, character, social status of a deceased parent – informed the photographic traditional formal portrait in Òwò, Nigeria.
African-American Self-Portraiture
Summary: As ‘always already’ racialized object of the white patriarchal look African-Americans have enduringly suffered from having to negotiate notions of the self from a crisis position. The act of self-portraiture for the African-American artist has the value of bestowing upon the self-portraitist a sense of empowerment.
Generative Negatives: Del LaGrace Volcano’s Herm Body Photographs
Summary: In conventional film photography, negatives are used in the darkroom to produce positive images, but in the outmoded medium Polaroid 665 the positive image is used to make a unique negative that can then be employed to make positive prints in the future. This generativity of the Polaroid 665 negative is used by the artist to mirror the complexity of feelings regarding intersex bodies. The series shows how negative affect can be productive and political, even when it appears to suspend agency.