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Why Images?

Why Images?
JHB 100
Time: Nov 4th, 2:30 pm End: Nov 4th, 4:30 pm
Interest Categories: Visual Studies (UTM), Urban, United States Studies, Sociology (FAS), Science/Technology, Philosophy (UTSC), Philosophy (UTM), Philosophy (FAS), Linguistics (FAS), Information, Faculty of, History (FAS), History & Philosophy of Science & Technology (FAS), Historical Studies (UTM), English and Drama (UTM), English (UTSC), English (FAS), Education, East Asian Studies (FAS), Critical Theory, Comparative Literature (FAS), Communications, Communication, Culture, Information and Technology (UTM), Cinema, Canada, Art (FAS), Architecture, Landscape, Design, Anthropology (UTM), Anthropology (FAS), 2000-, 1950-2000
Symposium featuring Christopher Bolton, John Kulvicki, and Carl Plantinga

Jackman Humanities Institute Program for the Arts 2010-2011 Image and Spectacle



Why Images?  A Public Roundtable Discussion on the Importance of the Study of Images

Organized by the Faculty Research Fellows of the Jackman Humanities Institute


Immediacy, Abstraction, and Animation

Christopher Bolton (Comparative and Japanese Literature, Williams College)

My research is on Japanese literature and science, and how the interaction between these two fields influences literary form as well as content. My earlier work addressed the ways that scientific and literary language combine and blur together in postwar avant-garde fiction. My current research deals with Japanese animation, or "anime." Anime frequently treats science and technology in its plots, but I am also interested in how its visual language is tied to the technology of animation itself. My work asks how limits and advances in animation technology (like the transition from sequential art to full animation, or from cell animation to computer graphics) have influenced the meanings and messages anime can express.


Images in Art and Science

John Kulvicki (Philosophy, Dartmouth College)

There are two major strands in my research.  The first focuses on perception.  How do perceptual states represent, and thus make us aware of the environment?  How do colours and other so-called 'secondary' qualities differ from shapes and other primary qualities?  How should we explain the conscious aspects of perception, or what it is like to see red things, smell roses, and taste wine?  The second strand of my research focuses on the nature of pictorial representations.  What makes pictures different from other kinds of representations like diagrams and descriptions?  What makes some pictures more realistic than others? How do we use pictures and other kinds of representations as aids to learning about the world around us?


Photographic Images and Sensual Communication

Carl Plantinga (Communication Arts and Sciences, Calvin College)

Most of my research has at some point of another focused on the means by which photographically realistic images employ a particularly sensual means of communication.  In both documentary and fiction films, the use of moving photographic images has implications for the use of images as evidence or apparent evidence (in the documentary, particularly) and the means by which filmmakers use images not only to provide information, but to elicit affect for rhetorical purposes.  The use of photographically realistic images in films engages real-world perceptual processes, and from this images gain much of their power.


If you are a person with a disability and require accommodation, please contact Kim Yates at (416) 946-0313 to make appropriate arrangements.

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