Notice bibliographique
Résumé
Reviewed by: How Images Think James Elkins (bio) Ron Burnett. How Images Think MIT Press 2004. xxi, 253. US $34.95 This is a book about the kinds of human experience that images engender. It is a good, wandering, meditative book. Unfortunately it has completely the wrong title. First, thinking isn't really at issue. What Ron Burnett cares about is subjectivity, collectivity, sense of self, sense of community, links and networks and societies; for him images are woven into each of them. It does not really matter if images think. They prompt us, and they respond to what we do; they have agency and roles to play in our lives. How Images Work might have been better, or even How Images Work with Us, perhaps with a subtitle like The Interdependence of Humans and Their Images. Thinking is nearly the worst word he could have chosen for a title, because he is concerned with all sorts of actions and effects in the world that are much more effective, that do more, than just hanging on a wall and thinking. On the very last page of his book, under a heading called 'So, Do Images Think?' the first thing Burnett says is that 'intelligence has become a distributed interaction.' He cares about the distribution, the sharing, the collaboration, and not the generation of thought per se. That is one reason why Burnett's title is wrong. It is also wrong because there is a tradition of theorizing how images think, and readers might think his book has something to do with it. That tradition comes mainly from Hubert Damisch, and is now being investigated by scholars such as Hanneke Grootenboer. Damisch, in turn, got it from Wittgenstein, for whom pictures seemed at one point to be a way of thinking about propositions in general. Grootenboer calls her research program 'The Pensive Image.' For Damisch, paint and other artists' materials could actually produce thought apart even aside from the things the paint depicted. Those are fascinating ideas, but they have nothing to do with what interests Burnett. The book has a very different intellectual lineage. Burnett reads widely – who doesn't, these days? – and picks some authors that are unusual in visual studies. There is Brian Cantwell Smith, whose book On the Origin of Objects has made some very dedicated converts even though it has still not reached a large audience. Other sources of inspiration are Marshall [End Page 315] McLuhan and John Berger, but (pointedly, I think), not Jean Baudrillard. (Simulacra are just too one-way.) And there is Bruno Latour, whose books give Burnett his sense of how images and people both have agency, how subjectivities include images as well as people. Incidentally, in case you are still wondering whether to read the book: it is also instructive about the possibilities of new interactions on the internet. Here you'll read about AlphaWorld, seti@Home, muds, moos, and sites like Gnutella. The book rambles in a benign way. Argument isn't Burnett's strong point: the book is rich in connections. Isn't it often the case that an author provides the best description of himself? At one point Burnett says: 'The viewer of images is potentially a raconteur of daydreams, visions, thoughts, and insights.' James Elkins James Elkins, Department of Art History, University of Cork Copyright © 2007 University of Toronto Press Incorporated
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,004 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».