advanced by art historians Alois Riegl and Heinrich Wölfflin. To do this, they apply a machine-learning model to neurological data supplied by a set of fMRI scans. Methodology is the explicit topic of our third article, by Jose Cañas-Bajo, Teresa Cañas
Andrew J. Ball
technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning
Our journal did not come into the world with authority and certainty but did so, instead, with some hesitation and tentativeness. The narrator of Jonathan Swift’s eighteenth-century satire on modern learning, A Tale of a Tub (1704) claims for himself “an absolute authority in right” as the “last writer” and “freshest modern.” We make no such claim. At this point we may be both new and fresh, but we need to feel our way, to discover what is out there and what we might realistically expect to come into our own purview. But tentativeness is good. It allows us to be responsive to a variety of articles so long as they satisfy our goal of exploring film and mind. Tentativeness also allows us a sustained and continuing debate.
Phenomenology Encounters Cognitivism
on situated accounts of cognitive experience—acknowledging the essential role of social interaction, sociocultural learning, intersubjective communication, sociocultural “scripts,” and enactive engagement with others in the world—brings cognitivist