Explaining Pictures

Beginning with the claim that the popularization of Buddhism in the medieval period was a phenomenon of visual culture, Explaining Pictures reexamines the history (and historiography) of medieval Japanese Buddhism. With theoretical sophistication and a full appreciation of the power of imagery to convey and control religious meaning, it investigates a range of aspects of etoki, including the particularly active role of itinerant nuns, whose performances were especially edifying to female audiences, as well as the visual hagiography of the reputed founder of Japanese Buddhism, the pictorial projections of Buddhist paradise and hell, and the explanation, through visual imagery, of sacred mountains. Explaining Pictures is the first book-length study in English devoted to the phenomenon of Buddhist art as religious propaganda and pictorial storytelling as a form of popular culture in medieval Japan. A truly interdisciplinary study, it suggests fruitful avenues of discussion between art historians and historians of Japanese Buddhism. Scholars and students with an interest in Japanese Buddhism, art, and social and cultural history will find its examination of significant issues fresh and stimulating. It will also find an appreciative audience among those concerned with the relationship between art and religion, the mechanics of proselytization, and Asian visual culture.

Multisensory perception is emerging as an important factor in shaping current lifestyles. Therefore, computer scientists, engineers, and technology experts are acknowledging the comparative power existing beyond visual explanations. Perceptions of Knowledge Visualization: Explaining Concepts through Meaningful Images discusses issues related to visualization of scientific concepts, picturing processes and products, as well as the role of computing in the advancement of visual literacy skills. By connecting theory with practice, this book gives researchers, computer scientists, and academics an active experience which enhances the perception and the role of computer graphics.

Early Japanese Buddhism was patronized by the literate classes and remained a prerogative of the elite until the end of the twelfth century. With the fiscal and political decline of its aristocratic patrons, the Buddhist establishment turned increasingly to lay commoners for financial support, using paintings to accommodate its new, and often subliterate, audiences. One type of preaching, known as etoki (pictorial decipherment), helped bridge the worlds of esoteric Buddhism and lay practice and reveals much about the role of art in the context of didactic storytelling and proselytization. Beginning with the provocative claim that the popularization of Buddhism in the medieval period was a phenomenon of visual culture, Explaining Pictures reexamines the history (and historiography) of medieval Japanese Buddhism. With theoretical sophistication and a full appreciation of the power of imagery to convey and control religious meaning, it investigates a range of aspects of etoki, including the particularly active role of itinerant nuns, whose performances were especially edifying to female audiences, as well as the visual hagiography of the reputed founder of Japanese Buddhism, the pictorial projections of Buddhist paradise and hell, and the explanation, through visual imagery, of sacred mountains. Part One presents the social history of etoki as it appears in a broad variety of written sources from the tenth to fifteenth centuries and investigates how etoki helped establish the cult of Shotôku Taishi. Part Two covers the period between the late twelfth and fourteenth centuries with a focus on Pure Land Buddhist propaganda and its use in etoki practice. Etoki sermons on the Taima Mandala, the visual description of the Pure Land Buddhist canons, show how envisioning the land of bliss substitutes for meditative concentration to gain enlightenment. Ikumi Kaminishi next turns to the itinerant etoki proselytes and similar performing artists between the fifteenth and the sixteenth centuries. These individuals preached on the road and through their missionary work reached out to commoners, turning etoki into an effective method of imparting religious beliefs and soliciting alms. In the late medieval period, audiences regarded itinerant preachers much like traveling artists and vendors, which has led modern scholars to conclude that etoki priests desecrated religious rituals. Kaminishi reconsiders this historiographical problem in relation to the social meaning of itinerant performing artists of the period. Finally, the she examines etoki’s effect on the popularization of sacred mountain worship (in particular Kumano and Tateyama)during the seventeen through nineteenth centuries. Chapters focus on the Kumano propaganda image used by nuns, how Christian religious imagery was exploited in seventeenth-century Buddhist propaganda, and the ways in which etoki campaigns made the remote Tateyama a popular pilgrimage site in early modern times. Explaining Pictures is an important groundbreaking work, the first book-length study devoted to the phenomenon of Buddhist art as religious propaganda and pictorial storytelling as a form of popular culture in medieval Japan. A truly interdisciplinary study, it suggests fruitful avenues of discussion between art historians and historians of Japanese Buddhism. Scholars and students with an interest in Japanese Buddhism, art, and social and cultural history will find its examination of significant issues fresh and stimulating. It will also find an appreciative audience among those concerned with the relationship between art and religion, the mechanics of proselytization, and Asian visual culture.

We see and represent our social environment not as it is, but as we believe it to be. This is the thesis defended in this book, supported by conceptual elements and illustrated by numerous examples drawn from anthropology, developmental psychology, cognitive psychology and social psychology. These examples show that people sharing different beliefs about the same object produce different images of that object (such as drawings or photos), and highlight that such people interpret the same image of this object differently. Finally, they show that, when these people communicate through images, they find it difficult to understand each other. On the basis of these observations, the book proposes a psychosocial theory of the link between beliefs and iconography. This book is mainly intended for students and researchers in the humanities and social sciences, interested in the problematic of images. However, it will also be of interest to communication practitioners and the general public.

'The most important art historian of his generation? is how some scholars have described the late Michael Baxandall (1933-2007), Professor of the Classical Tradition at the Warburg Institute, University of London, and of the History of Art at the University of California, Berkeley. Baxandall?s work had a transformative effect on the study of European Renaissance and eighteenth-century art, and contributed to a complex transition in the aims and methods of art history in general during the 1970s, ?80s and ?90s. While influential, he was also an especially subtle and independent thinker - occasionally a controversial one - and many of the implications of his work have yet to be fully understood and assimilated. This collection of 10 essays endeavors to assess the nature of Baxandall?s achievement, and in particular to address the issue of the challenges it offers to the practice of art history today. This volume provides the most comprehensive assessment of Baxandall?s work to date, while drawing upon the archive of Baxandall papers recently deposited at the Cambridge University Library and the Warburg Institute.

In this essay I am concerned with the problem of conceptual change. There are, needless to say, many ways to approach the issue. But, as I see it, the problem reduces to showing how present and future systems of thought are the rational extensions of prior ones. This goal may not be attainable. Kuhn, for example, suggests that change is mainly a function of socio-economic pressures (taken broadly). But there are some who believe that a case can be made for the rationality of change, especially in science. Wilfrid Sellars is one of those. While Sellars has developed a full account of the issues involved in solving the problem of conceptual change, he is also a very difficult philosopher to discuss. The difficulty stems from the fact that he is a philosopher in the very best sense of the word. First, he performs the tasks of analyzing alternative views with both finesse and insight, dialectically laying bare the essentials of problems and the inadequacies of previous proposals. Secondly, he is a systematic philosopher. That is, he is concerned to elaborate a system of philosophical thought in the grand tradition stretching from Plato to White head. Now with all of this to his credit, it would appear that there is no difficulty at all, one should simply treat him like all the others, if he indeed follows in the footsteps of past builders of philosophic systems.

Charles C. Fries (1887-1967) was a major figure in American linguistics and language education during the first half of the 20th century. Theoretical innovation and practical implementation were important threads that ran throughout his work. Fries believed that the attempt to deal with practical problems was a vital part of developing linguistic theory. He spent most of his effort exploring grammar as a tool for communicating meaning. Charles C. Fries was quite influential in the development of linguistics in the United States, and yet in some ways remained outside of the mainstream of the linguistics he helped to develop. The contributors to this volume were asked to present and evaluate some aspect of Fries' work and to show how similar ideas are being used today.

This book provides a full-year curriculum for educators wishing to teach a digital photography/multimedia class that will endow students with the technical skills for producing complex digital imaging projects. Digital imaging devices are everywhere, and most households have several—digital cameras, smartphones with cameras, and GoPro action cameras. With the right techniques and software, today's high-tech equipment can be used to create outstanding photographs or stunning digital imaging projects. This book allows any educator to teach digital photography/video and multimedia, regardless of previous experience with digital imaging, supplying tested and proven lesson plans, hands-on project ideas, and grading rubrics for a full-year course. Ideal for middle school, high school, and community college teachers as well as public youth services librarians, particularly those embracing the makerspace movement, Teaching Digital Photography: The Ultimate Guide to 'Tween and Teen Learning provides a detailed educational plan advising how to purchase equipment, set up a classroom or library area to be used for instruction, and instruct the students in the skills needed to become excellent digital photographers. The first half of the book focuses on establishing the class: the general philosophy, the classroom, and the equipment. Three chapters are dedicated to exploring the best ways to teach students the skills of photography, digital image improvement, and digital layout. The final sections of the book provide more than 20 digital layout projects and cover digital video production.