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Books on the topic 'Visual argument'

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Published: 4 June 2021
Last updated: 28 January 2023

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1

Rao, Valli. A visual guide to essay writing: How to develop and communicate academic argument. Broadway, N.S.W: Association for Academic Language and Learning, 2007.

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2

J, O'Brien Alyssa, ed. Envision: Writing and researching arguments. 3rd ed. Boston: Longman, 2010.

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3

Alfano, Christine L. Envision: Writing and research arguments. 2nd ed. New York: Pearson/Longman, 2008.

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4

Alfano, Christine L. Envision: Writing, and researching arguments. 2nd ed. New York: Pearson Longman, 2008.

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5

Chevanne, Marta, and Riccardo Caldini. Immagini di Istopatologia. Florence: Firenze University Press, 2007. http://dx.doi.org/10.36253/978-88-5518-023-8.

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This collection of images of Histopathology is the fruit of the authors' thirty years' experience in the performance of practical exercises in General Pathology. It is aimed at students attending lessons of General Pathology on the Degree Courses in Medical Surgery and Biological Sciences. It does not aspire either to be complete from the point of view of the various organic pathologies, or to replace direct and personal observation of the histological preparations through the microscope, but is rather intended as an aid to students preparing for the exam. It does not include the rudiments of cytology and microscopic anatomy, which it is assumed have already been mastered by those approaching General Histopathology, nor are histopathological phenomena systematically addressed, for which the reader is referred to textbooks on General Pathology. The 44 preparations presented here have been grouped in line with the main arguments of General Pathology: Cellular Degeneration, Inflammation, Neoplasia both benign and malign, and Vascular Pathology. They have been selected for their didactic significance and the simplicity and clarity of the lesions present, without taking into account the information to be derived from the clinical case history. The images of the preparations, in which the best possible quality of reproduction has been sought, are presented in progressive enlargements and are accompanied by brief descriptions comprising the explanations essential for identification of the characteristic aspects of the elementary lesion, as well as any eventual defects in the preparations themselves. Effectively, the objective of the work is to enable the student to exercise his understanding of the images. For this reason the casuistics included is as essential as possible, and the method of presentation utilised is designed to avoid mere visual memorisation, stimulating first analysis and then synthesis, and the development of individual logical skills so as to indicate whether aspects of cellular pathology, inflammation or neoplasia are present.
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6

Ball, Cheryl E., Kristin L. Arola, Annette T. Rottenberg, and Donna Haisty Winchell. Elements of Argument 8e & ix visual exercises. Bedford/St. Martin's, 2005.

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7

Ball, Cheryl E., Kristin L. Arola, Andrea A. Lunsford, and John J. Ruszkiewicz. Everything's an Argument 5e & ix visual exercises. Bedford/St. Martin's, 2009.

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8

Ball, Cheryl E., Kristin L. Arola, Annette T. Rottenberg, and Donna Haisty Winchell. Structure of Argument 5e & ix visual exercises. Bedford/St. Martin's, 2005.

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9

Elements of Argument 10e & ix visual exercises. Bedford/St. Martin's, 2011.

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10

Ruszkiewicz, John J., Cheryl E. Ball, Kristin L. Arola, and Andrea A. Lunsford. Everything's an Argument 4e & ix visual exercises. Bedford/St. Martin's, 2006.

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11

Ruszkiewicz, John J., Cheryl E. Ball, Kristin L. Arola, and Andrea A. Lunsford. Everything's an Argument 3e and ix visual exercises. Bedford/St. Martin's, 2004.

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12

Clauss, Patrick, Cheryl E. Ball, Kristin L. Arola, Andrea A. Lunsford, and John J. Ruszkiewicz. Everything's an Argument 5e & ix visual exercises & i-claim. Bedford/St. Martin's, 2010.

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13

Barnet, Sylvan, Hugo Bedau, Cheryl E. Ball, and Kristin L. Arola. From Critical Thinking to Argument 3e & ix visual exercises. Bedford/St. Martin's, 2010.

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14

Walters, Keith, John J. Ruszkiewicz, Cheryl E. Ball, Kristin L. Arola, and Andrea A. Lunsford. Everything's an Argument with Readings 4e & ix visual exercises. 4th ed. Bedford/St. Martin's, 2007.

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15

Barnet, Sylvan, Hugo Badau, Patrick Clauss, Cheryl E. Ball, and Kristin L. Arola. From Critical Thinking to Argument & i-claim & ix visual exercises. Bedford/St. Martin's, 2006.

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16

Donald, Ragsdale J., ed. Structures as argument: The visual persuasiveness of museums and places of worship. Newcastle, UK: Cambridge Scholars Pub., 2007.

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17

Madary, Michael. Visual Phenomenology. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035453.001.0001.

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The main argument of the book is as follows: (1) The descriptive premise: The phenomenology of vision is best described as an ongoing process of anticipation and fulfillment. (2) The empirical premise: There are strong empirical reasons to model vision using the general form of anticipation and fulfillment. (AF) Conclusion: Visual perception is an ongoing process of anticipation and fulfillment. The book consists of three parts and an appendix. The first part of the book makes the case for premise (1) based on descriptive claims about the nature of first-person experience. The initial support for (1) in Chapter 2 is based on the fact that visual experience has the general features of being perspectival, temporal, and indeterminate. Chapter 3 includes an argument for (1) based on the possibility of surprise when appearances do not change as we expect, and Chapter 4 contains a discussion of the content of visual anticipations. The second part of the book focuses on empirical support. Chapter 5 covers a range of evidence from perceptual psychology that motivates premise (2). Chapter 6 turns to evidence from neuroscience, including recent work in predictive coding. The seventh chapter shows how evidence for the two-visual systems hypothesis can be re-interpreted in support of (2). The third part of the book turns to general methodological questions (Chapter 8) and the relationship between visual perception and social cognition (Chapter 9). The appendix addresses the ways in which Husserlian phenomenology relates to the main theme of the book.
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18

Ball, Cheryl E., Kristin L. Arola, Annette T. Rottenberg, and Donna Haisty Winchell. Structure of Argument with 2009 MLA and 2010 APA Updates & ix visual exercises. Bedford/St. Martin's, 2010.

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19

Barnet, Sylvan, Hugo Bedau, and Lee A. Jacobus. World of Ideas 8e & ix visual exercises & From Critical Thinking to Argument 3e. Bedford/St. Martin's, 2010.

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20

Walters, Keith, John J. Ruszkiewicz, Patrick Clauss, Cheryl E. Ball, Kristin L. Arola, Douglas P. Downs, and Andrea A. Lunsford. Everything's an Argument with Readings 3e & i-claim & ix visual exercises & i-cite. Bedford/St. Martin's, 2006.

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21

Ball, Cheryl E., Kristin L. Arola, Annette T. Rottenberg, and Donna Haisty Winchell. Elements of Argument 9e with 2009 MLA and 2010 APA Updates & ix visual exercises. Bedford/St. Martin's, 2010.

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22

Barnet, Sylvan, Hugo Bedau, Cheryl E. Ball, Kristin L. Arola, Nancy Sommers, Diana Hacker, and Stephen A. Bernhardt. 2 Year Access Card for Writer's Help & From Critical Thinking to Argument 3e & ix visual exercises. Bedford/St. Martin's, 2010.

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23

Bischler, Sandra, Sarah Klein, Jonas Niedermann, Rudolf Barmettler, Michael Renner, Ueli Kaufmann, Sara Zeller, et al. Visual Arguments. Edited by Sandra Bischler, Sarah Klein, Jonas Niedermann, and Michael Renner. Verlag Scheidegger & Spiess, 2021. http://dx.doi.org/10.53788/swbe0001.

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24

Ball, Cheryl E., Kristin L. Arola, Andrea A. Lunsford, and John J. Ruszkiewicz. Everyday Writer 4e with 2009 MLA and 2010 APA Updates & Everything's an Argument with Readings 5e & ix visual exercises. Bedford/St. Martin's, 2010.

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25

Rethinking our collective decision making: Let's use visual tools to avoid more disasters. Edgar Hartel, 2019.

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26

El Refaie, Elisabeth. Visual Metaphor and Embodiment in Graphic Illness Narratives. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678173.001.0001.

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This study uses the analysis of visual metaphor in 35 graphic illness narratives—book-length stories about disease in the comics medium—in order to re-examine embodiment in traditional Conceptual Metaphor Theory (CMT) and propose the more nuanced notion of “dynamic embodiment.” Building on recent strands of research within CMT, and drawing on relevant concepts and findings from other disciplines, including psychology, phenomenology, social semiotics, and media theory, the book develops the argument that the experience of one’s own body is constantly adjusting to changes in one’s individual state of health, sociocultural practices, and the activities in which one is engaged at any given moment, including the modes and media that are being used to communicate. This leads to a more fluid and variable relationship between physicality and metaphor use than many CMT scholars assume. For example, representing the experience of cancer through the graphic illness narrative genre draws attention to the unfathomable processes going on beneath the body’s visible surface, particularly now that digital imaging technologies play such a central role in the diagnosis and treatment of the disease. This may lead to a reversal of conventional conceptualizations of knowing and understanding in terms of seeing, so that vision itself becomes the target of metaphorical representations. A novel classification system of visual metaphor, based on a three-way distinction between pictorial, spatial, and stylistic metaphors, is also proposed.
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27

Brogaard, Berit. The Representational View of Experience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495251.003.0004.

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In chapter 3, the author presents two arguments for the view that visual experience is representational. The first shows that phenomenal ‘look’ and ‘seem’ reflect phenomenal, representational properties of visual perception. It follows that experience is representational. This conclusion is consistent with some versions of naive realism, but considerably stronger than the minimal content view that takes content to be a description of what it is like for the subject to have the experience. The second argument establishes that the perceptual relation that obtains between experience and its object in core cases cannot fully explain the phenomenology of experience. In order to explain its phenomenology, we will need to appeal to the experience’s representational nature. The second argument thus shows that visual experience is fundamentally representational and not fundamentally relational, which is the central claim of the representational view.
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28

Brogaard, Berit. Other Arguments from ‘Look’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495251.003.0006.

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The notion of phenomenal look has been invoked in various contexts to argue for a range of philosophical positions. Chisholm appealed to his non-comparative looks to argue for the theory of appearing. Jackson made appeal to this notion in an argument for the sense-datum theory. More recently, Susanna Siegel and Susanna Schellenberg have provided arguments that rest on the notion of phenomenal looks to argue for the view that visual experience has content. And Kathrin Glüer has invoked this notion to argue for the view that visual experiences are beliefs with phenomenal-look contents. In this chapter, the author provides an overview of these arguments and offers some reasons for thinking that only the arguments in favor of what Siegel has called ‘the weak content view’ succeed.
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29

Barnet, Sylvan, Hugo Bedau, Cheryl E. Ball, Kristin L. Arola, Elizabeth Wardle, Douglas Downs, and Diana Hacker. Writing about Writing & Pocket Style Manual with 2009 MLA and 2010 APA Updates & From Critical Thinking to Argument 3e & ix visual exercises & Re: Writing Plus. Bedford/St. Martin's, 2011.

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30

Brogaard, Berit. Arguments Against the Representational View. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495251.003.0005.

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This chapter defends the representational view of visual experience against objections by Brewer, Siegel, Johnston, and Travis. Four problems are discussed: (1) the generality problem, or how to account for the specificity of visual experience; (2) how to explain illusions; (3) how the representational view can be true of all the visual experiences that we have, including brain grey, pink glow, after-images and phosphenes; and (4) how the phenomenology of visual experience can determine a unique representational content, given that there are indefinitely many different environments that could give rise to any particular look. The author takes on each of these objections and shows why they fail.
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31

Barnet, Sylvan. Contemporary and Classical Arguments & ix visual exercises. Bedford/St. Martin's, 2004.

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32

French, Craig. Object Seeing and Spatial Perception. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199666416.003.0006.

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This chapter considers the Spatiality Claim: if one sees an object then one sees some of that object’s spatial properties. The author considers an argument for this given by Cassam (2007), and challenges Cassam’s argument. His argument involves the idea, inspired by Dretske (1969), that seeing an object requires visual differentiation. But, it is argued here, there are prima facie counter-examples to the visual differentiation condition. Next, the author discusses the Spatiality Claim directly, and defends it against potential counter-examples which come from reflection on empirical cases where subjects can see objects yet have some sort of spatial perception deficit. One theme that emerges is that insofar as versions of the Spatiality Claim are defensible, we should focus on the relatively determinable spatial properties of objects and our perception of such properties.
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33

Bloom, Lynn Z., John J. Ruszkiewicz, Louise Z. Smith, Cheryl E. Ball, Kristin L. Arola, and Andrea A. Lunsford. St. Martin's Handbook 5e paper with 2003 MLA Update and CD-Rom Electronic: Exercises to accompany St. Martin's Handbook 5e and Brief Arlington Reader and ... an Argument 3e and ix visual exercises. Bedford/St. Martin's, 2004.

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34

Logue, Heather. Can We Visually Experience Aesthetic Properties? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.003.0003.

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This chapter explores the claim that we can visually experience aesthetic properties (such as gracefulness or gaudiness). First, it considers epistemological and phenomenological arguments in favour of the more general claim that we can visually experience so-called ‘high-level’ properties (which include aesthetic properties), and an argument against this claim based on classification of illusions. After arguing that none of these arguments are compelling, the chapter considers two arguments in favour of the claim that we can visually experience at least some aesthetic properties that have certain distinctive features (‘observationality’, and a ‘superficial’ metaphysical structure). It is argued that these arguments aren't compelling either, and the chapter concludes by suggesting that there may be no fact of the matter as to whether we can visually experience aesthetic properties.
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35

Alfano, Christine. Envision in Depth: Reading, Writing and Research Arguments, Mla Update. Longman Pub Group, 2009.

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36

Goodrich, Peter. Pictures as Precedents. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0011.

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Contemporary expansion of the use of images, photographs, film, animation and other visual media in legal argument has given rise to a practice and subdiscipline of visual advocacy. Less studied and commented on, this scopic dimension to legal practice has also resulted in an increasing use of images in judicial decisions. Recent case law provides examples of an image of an ostrich with its head buried purportedly remonstrating against failure to cite binding precedent, a smiling emoji in a decision relating to child custody, numerous splash pages and online order icons in cases relating to consumer purchases over the net, and many further instances of pictures coming to play the law. This chapter directly addresses the role of the eye and the impact of the visual upon the reasoning of judgments, as also on the status and import of precedents that include pictures.
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37

Fearn, David. Language and Vision in the Epinician Poets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0005.

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This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the predominance of a visual narrative style in his work. The argument covers not only epinician material but also an interesting but understudied fragmentary dithyramb. The focus then returns to Pindar with a short treatment of the themes of vision and visual and material culture in Nemean 10.
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38

Envision: Writing and Researching Arguments. Pearson, 2013.

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39

Beebee, Helen. Causation and Observation. Edited by Helen Beebee, Christopher Hitchcock, and Peter Menzies. Oxford University Press, 2010. http://dx.doi.org/10.1093/oxfordhb/9780199279739.003.0023.

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This article briefly discusses Hume's original argument concerning the absence of a sensory impression of causation. Hume's argument is important not just because of its historical significance in the debate about the observability of causation, but because it raises issues that arise within that debate in a particularly pure form. The article considers several ways in which psychologists and philosophers have attempted to characterize the sense in which causation might be ‘observable’, and the implications for the viability of a regularity account of causation. It considers whether causation can be experienced in non-visual cases, specifically the experience of touch and the experience of agency. It also considers briefly whether the observability of causation makes trouble for broadly Humean, non-regularity accounts of causation, namely counterfactual, projectivist, and agency theories of causation.
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40

Media, Irb. Summary of Vishal Gupta's Learn to Win Arguments and Succeed. IRB MEDIA, 2022.

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41

Stokes, Dustin. Rich Perceptual Content and Aesthetic Properties. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786054.003.0002.

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Both common sense and dominant traditions in art criticism and philosophical aesthetics maintain that aesthetic features or properties are perceived. However, there are many reasons to be sceptical of this. This chapter defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents who maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. This chapter offers a novel argument—the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art, concluding that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds.
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42

Schipper, Jeremy. Plotting Bodies in Biblical Narrative. Edited by Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.33.

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Scholars often argue that physical description in the Hebrew Bible narrative is used primarily to convey important information for the understanding the plot, rather than a clear visual image of the character, for the reader. This chapter examines some of the implications of this argument for the critical study of disability and nondisability imagery in biblical narrative. It argues that the two most frequent types of physical description in biblical narrative, attractiveness and disability, operate according to the same narrative logic as physical description in general. They are not necessarily included to indicate an extraordinary or unusual physical feature. Instead, they are described to help explain the plot of the story regardless of how unusual or commonplace the feature or condition was in ancient Israelite cultures. The chapter makes use of this argument to question reading strategies that assume that disability is presented as abnormal in biblical narrative.
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43

Alfano, Christine, and Alyssa O'Brien. Envision: Writing and Researching Arguments (2nd Edition). 2nd ed. Longman, 2006.

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44

Envision In-Depth: Reading, Writing, and Researching Arguments. Longman, 2007.

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45

Envision in Depth: Reading, Writing, and Researching Arguments. Pearson, 2016.

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46

Envision in Depth: Reading, Writing, and Researching Arguments. Pearson Education, Limited, 2013.

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47

Envision in Depth: Reading, Writing and Researching Arguments. Longman, 2010.

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48

Brogaard, Berit. Looks and Seemings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495251.003.0003.

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Moving on from points established in chapter 1, the author considers the question of what looks and seemings are, and whether they are indeed mental states. She then argues that ‘look’- and ‘seem’-reports do indeed express mental states rather than observational properties, as Mike Martin has proposed. She then provides evidence for thinking that looks and seemings fall into two categories: phenomenal (non-epistemic, non-comparative) and epistemic. At the end of the chapter, she presents an argument for thinking that looks and seemings are representational and addresses the question of whether this conclusion implies that visual experiences are representational.
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49

Seggerman, Alex Dika. Modernism on the Nile. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653044.001.0001.

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Analyzing the modernist art movement that arose in Cairo and Alexandria from the late nineteenth century through the 1960s, Alex Dika Seggerman reveals how the visual arts were part of a multifaceted transnational modernism. While the work of diverse, major Egyptian artists during this era may have appeared to be secular, she argues, it reflected the subtle but essential inflection of Islam, as a faith, history, and lived experience, in the overarching development of Middle Eastern modernity. Challenging typical views of modernism in art history as solely Euro-American, and expanding the conventional periodization of Islamic art history, Seggerman theorizes a “constellational modernism” for the emerging field of global modernism. Rather than seeing modernism in a generalized, hyperconnected network, she finds that art and artists circulated in distinct constellations that encompassed finite local and transnational relations. Such constellations, which could engage visual systems both along and beyond the Nile, from Los Angeles to Delhi, were materialized in visual culture that ranged from oil paintings and sculpture to photography and prints. Based on extensive research in Egypt, Europe, and the United States, this richly illustrated book poses a compelling argument for the importance of Muslim networks to global modernism.
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50

Eyerman, Ron. The Making of White American Identity. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197658932.001.0001.

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Abstract This book traces the development of whiteness in the United States as a distinctive collective identification, from the early colonial period through the January 6, 2021, assault on the Capitol Building in Washington, D.C. The theory of cultural trauma provides the framework for mapping and analyzing this process. The central argument is that whiteness is a mobilizing ideology, articulated and communicated over generations by individuals and carrier groups who make use of various means of mass media, from traditional print and visual media to the internet. In analyzing this transmission, hot and cold forms and thick and thin identification are distinguished. Hot forms carry clear ideological messages; cool forms are more subtle, such as genres of country music and novels and films. Memorials, such as those to the Confederacy, lie somewhere in between. The conflict over their removal, such as what occurred in Charlottesville, Virginia, in 2017, is a key factor in this analysis. The book’s final chapter sums up the argument and discusses the future of whiteness in the United States, when those who identify as white will no longer constitute the majority of the population.
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