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How to Do Things with Pictures

Skill, Practice, Performance


Edited By András Benedek and Kristof Nyiri

Pictorial meaning involves not just resemblance, but also pictorial skills, pictorial acts, practices, and performance. Especially in the classroom setting, at all levels of education, it is essential to realize that teaching with pictures and learning through pictures is a practical enterprise where thinking is embedded in doing. Promoting visual learning means to be a visionary, and to take on an enormous educational challenge. But while adaptation and innovation are inevitable in a world where technological changes are rapidly and radically altering the learning environment, educational science and the everyday practice of education clearly need to retain a measure of conservatism. And any conservatism worth the name has to take account of visuality, visual thinking, and visual learning.


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An Education of Attention:The Perception of Change in Bergson and Performance. Laura Cull


138 John Mullarkey exists, and is best demonstrated, on-screen, and cannot be relayed in words, nor even in captured still images. To say the unsayable comes on pain of contra- diction: what we can’t say, we can’t say. And we can’t whistle it either, at least according to Frank Ramsey’s famous resaying of Wittgenstein’s final remark on ineffability in the Tractatus Logico-Philosophicus. But ineffability in toto is something other than this – ostensive gesture – being totally unsayable. In other words, there are different ways of saying/not-saying, rather than total ineffability – and even “representation” may only be another kind of suggestion, another form of gesture.30 For what if x is not “directly” said because it cannot be shown with those words, but only “directed”, or indexed, with images, with words acting as images, being read through what they say rather than about what they say? Bazin can demonstrate himself. Bazin’s favoured films can show them- selves. What we do here, with words, is point the reader-cum-viewer to where he or she can be shown something rather than nothing. 30 That is, it could be that representing embodiment may well be another kind of embodi- ment (another kind of showing), and an action of another kind, that is, at another level of corporeality (or speed or tension) awaiting incorporation (“showing”) “here and now” in this placement and its level/speed/tension. An Education of Attention: The Perception of Change in Bergson and Performance Laura Cull Introduction A number of thinkers across the disciplines have referred...

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