No abstract
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. The MIT Press andLeonardo are collaborating with JSTOR to digitize, preserve and extend access to Leonardo. http://www.jstor.org This content downloaded from 62.122.73.128 on Wed, 11 Jun 2014 09:01:25 AM All use subject to JSTOR Terms and Conditions concise history of the cafe, its origins, the artistic activities it organized and the artists who met there follows. Special emphasis is given to Picasso and the influences he received from Modernismo in general and especially from Casas, Rusifiol and Nonell. The main section of the catalog is devoted to reproductions of the 55 works exhibited-which date from 1890 to 1909 and include posters, book and magazine illustrations and prints as well as drawings and paintings-with a description and analytic commentary on each, discussing not only the individual work but often its relationship to other works by the same or different artists. A selected bibliography completes this useful volume which presents to the public many interesting artists who are little known outside of Catalonia and gives a picture of the enthusiasm and creativity of this group of artists in Barcelona at the turn of the century. Art and Philosophy: Conceptual Issues in Aesthetics. Joseph Margolis. Humanities Press, Atlantic Highlands, NJ, U.S.A. 1980. 350 pp. $25.00. ISBN: 0-391-00645-2. Reviewed by David Carrier* Artworks, Margolis argues, are culturally emergent entities. The painting, though embodied in a physical object, is not identical with that object. What the artist makes and the critic describes is something possessing properties 'other than those ascribed to the physical object in which it is embodied' (p. 40). We cannot, if we are to be coherent, allow incompatible descriptions of a physical object; something cannot be both 'square' and 'not square'. But since artworks are not just physical objects, there may be no clear distinction between what is 'actually in a painting and what is only plausibly imputed to it' (p. 122). Different incompatible descriptions of one artwork may be allowed. This does not mean that in art criticism anything goes. All legitimate interpretations must 'meet criteria of critical plausibility' (p. 163); they must correctly describe the work, and take their place within the traditions of criticism. . 12-13, 98-99) and Wollheim on expression (p. 179) mistaken; and I do not understand his objections (p. 22) to Danto's discussion of artistic identification. Though these debates bring a rich array of references into this book, they make the argument hard to follow. When in three pages (pp. 195-198) he argues against Gombrich's theory of representation, criticizes Arnheim's 'platonist theory of perceptual forms' and rejects Gibson's ac...
No abstract
In October 1981, Japan's Ministry of International Trade and Industry (MITI) sponsored a conference to announce a new national project. Alongside national projects in supercomputing and robotics, there would be an effort to develop a new generation (the fifth, by their reckoning) of computers.
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