Abstract
After profiling the broad ontological distinctions separating the modalities and their basic distinctions, it is possible to clarify the ontology of the individual modalities. All of the six modalities have a determinate range of independence. Instead of stressing so much what separates the modalities, the following discussion is intended to look within each of them, apply the idea of the self-image and likeness, and integrate Ingardian ideas of ontological in/determinacy. In addition, technical media will be discussed, but only generically, to the degree that broad ontological distinctions can be made.
You are saying that you are beginning with painting. But that is misleading: you are not giving a stripped-down version of painting but you are dealing with the “pictorial.”
Rudolf Arnheim to Robert Sowers, 21 July 1983 (Archives of American Art/Washington DC).
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Notes
- 1.
Rudolf Arnheim, “Art as Perceptual Experience,” in Richard Gregory, ed., Oxford Companion to the Mind (Oxford, 1987), 48.
- 2.
Arnheim, “Accident and Necessity,” 166.
- 3.
Rudolf Arnheim, The Genesis of a Painting: Picasso’s Guernica (Berkeley and Los Angeles: University of California Press, 1962), 15.
- 4.
Ingarden, Ontology of the Work of Art, 191.
- 5.
Wolfgang Kemp, “Death at Work: A Case Study on Constitutive Blanks in Nineteenth-Century Painting.” Representations 10 (1985):102–23; c.f Peter Geimer, “Picturing the Black Box. On Blanks in 19th Century Paintings and Photographs,” Science in Context 17 (2004), 467–501.
- 6.
Arnheim, “Sculpture,” 86.
- 7.
Arnheim, “Accident and the Necessity of Art,” 170; “The Nature of Photography;” “The Two Authenticities of the Photographic Image.”
- 8.
Arnheim, Parables of Sunlight, 163; c.f. Stanley Cavell, The World Viewed (Cambridge: Harvard University Press, 1979), 23–24.
- 9.
Joel Snyder, “Photography and Ontology,” in The Worlds of Art and the World, ed. Joseph Margolis (Amsterdam, 1984), 21–34.
- 10.
David Jacobs, “Interview with Rudolf Arnheim,” Exposure 23 (1984): 18.
- 11.
Kendall Walton, “Transparent Pictures: on the Nature of Photographic Realism,” Critical Inquiry 11 (1984): 246–77; Dominic McIver Lopes, “The Aesthetics of Photographic Transparency,” Mind 112 (2003): 433–448; Yvan Tétreault, “Mechanical Recording in Arnheim’s Film as Art,” Postgraduate Journal of Aesthetics 5 (2008): 16–26.
- 12.
Arnheim, “Robin and the Saint,” 330.
- 13.
Arnheim, Dynamics of Architectural Form, 215.
- 14.
Arnheim, Dynamics of Architectural Form, 215.
- 15.
Arnheim, Dynamics of Architectural Form, 217–218.
- 16.
Ingarden, The Literary Work of Art, 300–301.
- 17.
G. David Pollick, “The Sculptural Work of Art,” in B. Dziemidok, and P. McCormick (eds.), On the Aesthetics of Roman Ingarden. Interpretations and Assessments (Dordrecht: Kluwer, 1988), 255–81.
- 18.
Arnheim, “Sculpture,” To the Rescue of Art, 86.
- 19.
Arnheim, “Sculpture,” To the Rescue of Art, 86.
- 20.
Arnheim, Dynamics of Architectural Form, 216.
- 21.
Arnheim, Dynamics of Architectural Form, 216.
- 22.
Arnheim, Dynamics of Architectural Form, 218.
- 23.
Arnheim, Dynamics of Architectural Form, 206.
- 24.
Ingarden, Ontology of the Work of Art, 275.
- 25.
Arnheim, “Thoughts on Durability: Architecture as an Affirmation of Confidence,” American Institute of Architecture Journal 66 (1977): 48–50.
- 26.
Arnheim, Parables of Sunlight, 227.
- 27.
Arnheim, Art and Visual Perception [1954], 43.
- 28.
Arnheim, “On the Nature of Photography.”
- 29.
Arnheim, “A New Laocoön,” 187.
- 30.
Marianne Simmel, “Mime and Reason: Notes on the Creation of the perceptual Object,” Journal of Aesthetics and Art Criticism 31 (2):193–20.
- 31.
See by Arnheim’s teacher, Erich M. von Hornbostel, “Melodischer Tanz, eine musikpsychologische Studie,” Zeitschrift der Internationalen Musikgesellschaft 5 (1904): 482–88.
- 32.
Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Oxford: Oxford University Press, 1960); and Arnheim’s review, “Melancholy Unshaped,” Toward a Psychology of Art.
- 33.
Arnheim, “Fiction and Fact,” 136–7 (44 of reprint).
- 34.
Arnheim, “Foreward” Film as Art (Berkeley and Los Angeles: University of California Press, 1968).
- 35.
Arnheim, “Art Today and the Film,” 243.
- 36.
Arnheim, “Foreward,” Film as Art, ii.
- 37.
Arnheim, “Art Today and the Film,” 243.
- 38.
Arnheim, “Art Today and the Film,” 243.
- 39.
Arnheim, “Art Today and the Film,” 243.
- 40.
Arnheim, “A Personal Note,” Film as Art, 5.
- 41.
Arnheim, “The Two Authenticities of the Photographic Medium,” Journal of Aesthetics and Art Criticism 51 (1993): 537–540.
- 42.
For these developments in animation, see Tom Sito, Moving Innovation: A History of Computer Animation (Cambridge: MIT Press, 2013).
- 43.
Stephen Prince, Digital Visual Effects in Cinema: The Seduction of Reality (New Brunswick, Rutgers University Press, 2012).
- 44.
Arnheim, “Remarks on Color Film,” Film Essays and Criticism.
- 45.
Arnheim, “Remarks on Color Film,” Film Essays and Criticism, 21.
- 46.
Arnheim, “A Personal Note,” Film as Art, 5.
- 47.
Scott Higgins, “Deft Trajectories for the Eye,” in Scott Higgins, ed., Arnheim for Film and Media Studies (Routledge, London, 2011).
- 48.
Arnheim, “The Reach of Reality in the Arts,” To the Rescue, 30.
- 49.
Peter Kivy, “Is Music an Art?” Journal of Philosophy 88 (1991): 547; reprinted in Kivy, The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge, 1993), 364.
- 50.
Kivy, “Is Music an Art?” 549.
- 51.
Rudolf Arnheim, review of Robert Sowers, Rethinking the Forms of Visual Expression, Leonardo 164 (1993): 697–8.
- 52.
Rudolf Arnheim, “Snippets and seeds: notes from a journal, III,” Salmagundi 25 (1974): 77–80, 80
- 53.
Arnheim, “Snippets and seeds, III,” 80.
- 54.
Arnheim, “Language, Image, and Concrete Poetry,” 98.
- 55.
Arnheim, “Language, Image, and Concrete Poetry,” 99.
- 56.
Arnheim, “Language, Image, and Concrete Poetry,” 99.
- 57.
Arnheim, “Language, Image, and Concrete Poetry,” 99.
- 58.
Ingarden, Cognition of the Literary Work of Art, 52.
- 59.
On the definition of tragedy, see Arnheim, “Deus ex machina.”
- 60.
Arnheim, “Language, Image and Concrete Poetry,” New Essays, 93.
- 61.
Arnheim, “Abstract Language and the Metaphor,” Toward a Psychology of Art, 277.
- 62.
Ingarden, Literary Work of Art; Der Streit um die Existenz der Welt, ch. 9; see further Barry Smith, “Roman Ingarden: Ontological Foundations for Literary Theory,” in J. Odmark, J. (ed.), Language, Literature & Meaning: Problems of Literary Theory (Amsterdam: J. Benjamins, 1979), 373–390.
- 63.
Arnheim, “Abstract Language and Metaphor,” 277.
- 64.
Arnheim, Parables of Sunlight, 318.
- 65.
Arnheim, Parables of Sunlight, 223.
- 66.
Arnheim, Parables of Sunlight, 223.
- 67.
Arnheim, Parables of Sunlight, 3.
- 68.
Michel Butor, “Literature, the Ear and the Eye” (Repertoire III, 1968, in Rudolf Arnheim, “To the American Reader of the New Edition,” in Radio: An Art of Sound (Da Capo, 1971), 10.
- 69.
Arnheim, Radio: An Art of Sound, and the essays collected in Arnheim, Rundfunk als Hörkunst, 179–211.
- 70.
Arnheim, Radio: An Art of Sound, 158.
- 71.
Arnheim, Radio: An Art of Sound, 11.
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Verstegen, I. (2018). The Ontology of the Individual Modalities. In: Arnheim, Gestalt and Media. SpringerBriefs in Philosophy. Springer, Cham. https://doi.org/10.1007/978-3-030-02970-8_7
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