Biographia Literaria, 1817

Coleridge, Samuel Taylor; Jaccottet, Antoine

doi:10.3917/poesi.122.0135

Cited by 33 publications

(33 citation statements)

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“…The discussion above prompts a re-evaluation of Samuel Taylor Coleridge's 'willing suspension of disbelief' (Coleridge, 1817(Coleridge, /1907 which has been generalised to describe our engagement in all fictional worlds. The term seems often clichéd in its use and implies that our default state when approaching fiction is disbelief that must somehow be overcome to enable transportation into a fictional world.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources

Hetherington

McRae

2017

Animation

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A qualitative inquiry of reviews of films featuring digital humanlike characters was performed by sampling user comments from three online reviewer aggregator sites: the Internet Movie Database, Rotten Tomatoes and Metacritic. The movies chosen for analysis were: Final Fantasy: The Spirits Within (2001), The Polar Express (2004), and Beowulf (2007, all produced using CGI animation, together with A Scanner Darkly (2006a) whose visuals are depicted by rotoscoping using Bob Sabiston's Rotoshop software. Our analysis identified individual differences in the viewing experience, particularly in relation to the uncertain ontology of the humanlike characters created using CGI (CGI-Humans). We found examples of reviews indicating an inability to distinguish between real and CGI-Human actors, observations of characters transiently exhibiting realism before returning to their artifice, and of characters being viewed as eerie (analogous to the uncanny valley) thus illustrating a complex and dynamic response to this phenomenon. In some situations character uncanniness was related to the presence of an atypical feature such as movement of the eyes. Whilst specifically for Beowulf, perceptions became more problematic when there was familiarity with the actor playing the CGI-Human character, with some reviewers describing difficulties in categorising the character as either real or animated. CGI-Human performances were also characterised by a lack of, or inappropriate social interaction. Online reviewers did not perceive characters depicted using Rotoshop (Rotoshop-Humans) as eerie and rotoscoping was found to preserve, and possibly enhance, the natural social interactions between actors recorded from the live-action film used as the source for the animation. Our inquiry also identified user motivations for viewing these movies and the importance placed by reviewers on the form of display when viewing the CGI films. We situate our interpretation of these findings in relation to Walton's make-believe theory (Mimesis as Make-Believe: On the Foundations of the Representational Arts, 1990) revealing its application to our understanding of the viewing experience of animated films featuring digital humans.

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Section: Conclusion and Discussionmentioning

confidence: 99%

Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources

Hetherington

McRae

2017

Animation

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“…Th is is, he says, "the lethargy of custom" and "the fi lm of familiarity and selfi sh solicitude" (Coleridge 1817: ch XIV). As Owen Barfi eld writes in What Coleridge Th ought, in this condition "the mind is in thrall to the lethargy of custom, when it feeds solely on images which itself has taken no part in producing" (Barfi eld 1971: 87;Coleridge 1817). Here, too, creativity ('Imagination' proper, brought forth in the biosemiotic work of the self) is recognized as the necessary counterpart to necessary habit ('Fancy' as conventional imagining).…”

Section: The Biosemiotic Idea Of Poiesismentioning

confidence: 99%

“…As Barfi eld, quoting Coleridge, writes: "imagination is, and fancy is not, "the very power of growth and production"' (Coleridge 1817quoted in Barfi eld 1971. Returning to Hardy's poem, we can note the parallels in the way the poet's new insight draws upon antecedent articulations.…”

Section: The Biosemiotic Idea Of Poiesismentioning

confidence: 99%

The carrying: Material frames and immaterial meanings

Wheeler

2014

SSS

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Th is lecture is divided into three main sections. Th e fi rst part discusses the von Uexküllian umwelt and Funktionskreis; the second concerns Charles Sanders Peirce's semiotic, and the growth of signs and meanings; and the last explores the biosemiotic idea of poiesis -particularly in relation to culture and literature. Th e fi rst two sections will look at some of the main theoretical ideas underpinning biosemiotics. Th e third, taking particular account of this audience of members of the European Association for the Study of Literature, Culture and the Environment, will make some suggestions, with examples, of the ways we might think biosemiotically about the makings and self-makings which art, and especially literature, aff ords.

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“…He was leaving behind him the materialist speculations of Brown and Hartley: as he would later put it, 'Association in philosophy is like the term stimulus in medicine: explaining everything, it explains nothing; and above all, leaves itself unexplained.' 33 Coleridge and Davy's friendship would be an enduring one that would evolve through the many phases of their careers to come; but all began with a green silk bag of nitrous oxide. As Coleridge inhaled and felt its warmth diffusing through his body, he did not reach for extravagant metaphors, but stated precisely that the sensation resembled 'that which I remember once to have experienced after returning from the snow into a warm room'.…”

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confidence: 99%

The atmosphere of heaven: the 1799 nitrous oxide researches reconsidered

Jay¹

2009

Notes Rec. R. Soc.

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accounts of the nitrous oxide experiments carried out at the Pneumatic Institution in 1799 include extravagant descriptions of its mind-altering effects. Many people, both at the time and subsequently, have considered these descriptions to be the product not of the gas but of its subjects' overheated imaginations. To what extent were these effects 'all in the mind' of the experimenters? Modern understandings of nitrous oxide throw new light on this question; but it was also considered, and resolved in different ways, by Beddoes and Davy themselves.

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Biographia Literaria, 1817

Cited by 33 publications

References 0 publications

Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources

Make-Believing Animated Films Featuring Digital Humans: A Qualitative Inquiry Using Online Sources

The carrying: Material frames and immaterial meanings

The atmosphere of heaven: the 1799 nitrous oxide researches reconsidered

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