Philosophical Enquiries
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Browsing Philosophical Enquiries by Subject "Apperception"
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Item Open Access 'In My Mind's Ear': Misconstruing Sounds as Sights – a Philosophical and Cinematical Caution(1999) Cameron, Evan Wm.The notion of 'imaging' music ought to perplex us philosophically, for 'to imagine' is a verb of visualisation. Hearing musical events may cause us to imagine things, and seeing things may cause us to think of hearing musical events, but to speak of visualising how we hear when hearing musically is to echo an innervating confusion. The primary space within which we encounter things is auditory/tactile rather than visual. To think accurately of music, and especially so when composing it, one must retrain oneself to think of it non-visually, avoiding the commonplace 'imaginings' of the formalisations of mathematical structures, for example, that so often reduce what we hear thereafter to mere exemplifications of them lacking any hope of musical fascination.Item Open Access Pudovkin's Precept [Summary]: Pudovkin, Kant and the Transcendental Unity of Apperception(1990) Cameron, Evan Wm.In 1926, Vsevolod Pudovkin solved the fundamental problem of film design by showing filmmakers how to select and order the parts of a movie (its shots, scenes and sequences of them) to ensure that viewers can perceive coherently and with least effort the events that they encounter by means of it. He did so by unwittingly bringing Kant's transcendental constraint of apperceptive unity to bear upon it, confirming with unprecedented elegance and power that respect for the constraints of the self-conscious perceptual integrity of observers is the primal precondition of authentic art. Within this address, I summarise Pudovkin's achievement and its Kantian context, condensing the story told within Parts 1-3 of the lectures on 'Pudovkin's Precept' available within the Evan Wm. Cameron Collection.Item Open Access Pudovkin's Precept, Part 3: Bringing Movies to Kant's 'Transcendental Unity of Apperception'(1987) Cameron, Evan Wm.In 1926, Vsevolod Pudovkin, a not-so-young Russian of thirty-two making his first movie of feature length, articulated within a brief manual for filmmakers how to solve the fundamental problem of film design by describing how to select and order the parts of a movie (its shots, scenes and sequences) to ensure that viewers can perceive coherently and with least effort the events that they encounter by means of them. How did he do it? How, indeed, could anyone have done it, much less an inexperienced filmmaker, accomplishing a feat of a kind unprecedented within commentaries by others upon any other art? To answer those questions is to comprehend not only the rudiments of how filmmakers make movies but the distinctive nature of the art of filmmaking itself. Within the lectures on 'Pudovkin's Precept . . .' available within the Evan Wm. Cameron Collection, I address those questions in order and with increasing refinement, unpacking in Part 3 how Pudovkin was able to do what he did only by unwittingly bringing Kant's transcendental constraint of apperceptive unity to bear upon the making of movies, confirming that respect for the constraints of the self-conscious perceptual integrity of observers is the primal precondition of achievement within every art.