Most of my publications and talks concern the nature, function, and perception of pictorial representations and similar expressive forms. They are theoretical, but argued from ‘real world’ engagement with things that matter to people, from the prehistoric to our own times. These discussions not only feature a broad variety of illustrations, but, as 'substantive' philosophy, are typically based on them. They are of interest not only to philosophers but also to artists, art critics and historians.
My teaching subject range is broader than my writing. It is based on philosophical classics (ancient and modern, across all topics), then philosophy of art/aesthetics. I enjoy teaching at all university levels. A US and Canadian citizen, resident in the UK, I am interested in sessional teaching appointments.
(I am a contributor to The Philosophical Lexicon and a member of the Board of The Philosophical Gourmet Report.)
- "Drawing, Painting, and Print-making", in A Companion to Aesthetics: The Blackwell Companion to Philosophy, 2d rev. ed., Robert Hopkins ed. (2009), pp. 82-85, focused on drawing and the physicality of three media.
- "Photography", in A Companion to Aesthetics: The Blackwell Companion to Philosophy, 2d rev. ed., Robert Hopkins ed. (2009), pp. 98-101.
- "Photography", The Routledge Companion to Aesthetics, B. Gaut and D. M. Lopes, eds. London: Routledge, 2000, pp. 477-490. 2d edn (rev.), 2005, pp. 611-624.
- "Photography and Technology," in Ecyclopedia of Aesthetics. Oxford University Press, 1997: v. 3, pp. 496-499.
- "Form", The Dictionary of Art, Grove: Macmillan Publishers Ltd, 1996: v. ll, pp. 312-314. 'Doing an Aristotle'—highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
Drawing Distinctions: The Varieties of Graphic Expression, Cornell U. Press, 2005, ca 290 double-columned pp.,
92 illus.: first philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings—depictive and nondepictive, East and West—engaging cognitive and developmental psychology, philosophy, art history and criticism.
The Engine of Visualization: Thinking Through Photography, Cornell University Press, 1997: ca 330 pp.
First philosophy treatise on photography, analytic in approach but sensitive to photo-history, not confined to aesthetics or art (illus.), Walker Evans photo on cover. Papercover printing, Dec. 2000.
- Guest ed., "Perspectives on the Arts and Technology", a special issue of The Journal of Aesthetics and Art Criticism 55 (Spring 1997): ca 135 double-columned pages of original papers by ten authors, about digitalization, music, cinema and photography, fine and mass art (illus).
- ed. with Susan Feagin, Aesthetics, Oxford University Press Reader, 1997
ca 420 pp., 57 carefully edited selections, including, besides classic and contemporary philosophical studies, cross-cultural studies, focused on topics of value (illus.)
- ed. with B. Freed and A. Marras, Forms of Representation, North-Holland, American Elsevier, 1975: 245 pp., interactive papers by Bennett, Cornman, Dretske, Harman, Ishiguro, Pears, Rozeboom, Schwayder, Sellars, Stampe, Strawson, Unger from 1972 conference.
- ed. with Glenn Pearce, Conceptual Change, Reidel, 1973: ca 280 pp., thirteen original papers and extensive bibliography, based on 1970 conference: still available from Kluwer.
Forthcoming essay on contemporary drawing for special drawing issue of Rivista di Estetica, Roberto Casati, ed.
Forthcoming essay for A. Meskin & R. T. Cook, eds, The Art of Comics and Graphic Novels: A Philosophical Approach (Wiley-Blackwell).
- "Scales of Space and Time in Photography: Perception Points Two Ways", Philosophy and Photography, Scott Walden, ed. Blackwells, 2008: 7K words (illus). Combining ideas of perceptual psychologists J.J. Gibson and J.E. Cutting, moving on to answer the arguments of the "Naysayers" against autonomous and artistic meaning in photographs.
- "Can Seeing Be an Art Really?" (joint interview with Kendall Walton), Richard West, Source (Belfast) 53 (Winter 2007): 38-41 (illus.).
- "Portraits as Displays", Philosophical Studies 135.1 (August 2007), from 2006 Oberlin Colloquium in Philosophy: 111-121, 4K words (illus). Online access: http://philpapers.org/rec/MAYPAD
- "We Can't, eh, Professors?: Photo Aporia", in The Art Seminar: Photography Theory, James Elkins, ed. London: Routledge, 2006, pp.
- "Pictures of Perspective: Theory or Therapy?", in Looking into Pictures, Heiko Hecht, Margaret Atherton & Robert Schwartz, eds. MIT Press, 2003, pp. 191-211 (illus.). Pointing out standard fallacies about perspective, then challenging widespread assumption that satisfactory understanding of depiction in any medium can be reached by theories of spatial--or any other kind of--visual perception.
- "Drawings as Drawn: An Approach to Creativity in an Art", in The Creation of Art, Berys Gaut & Paisley Livingston, eds. New York: Cambridge University Press, 2003, pp. 53-88 (illus.). To explain creativity in drawing, antecedent question of how depictive drawings are made and understood is carefully addressed, with new analytic tools (focused on a New Yorker cartoon about creativity): 7K words.
- "The Time It Takes", in The Graphic Novel, Jan Baetens, ed. Leuven: Leuven Univ. Press, 2001 (distrib. Cornell University Press), pp. 191-210. Concerns photography and time as duration, sequence, equability, past and present (illus.).
- "'What Will Surprise You Most': Self-Regulating Systems and Problems of Correct Use in Plato's Republic", Journal of the History of Philosophy (January 2000): 1-26. Reinterpretation of the central part of Republic in terms of Plato's preoccupation with the problem of misuse of good things. Online access via: http://muse.jhu.edu/login?uri=/journals/journal_of_the_history_of_philosophy/v038/38.1maynard.html
- "Drawing Distinctions I: The First Projects", Philosophical Topics 25.1 (Spring 1997): 231-253. Introduces philosophers to John Willats' effective new way to describe pictures of things, stressing 'topological'-space values in pictures, vs psychology's projective tendencies (illus).
- "Perspective's Places", JAAC 54.1 (Winter, 1996): 23-40. On the occasion of the "Circa 1492" exhibit, attempt to dispel five-hundred years' confusion about what pictorial perspective is and does for us; incl. original accounts of Panofsky and of Durer (illus.).
- "Sparshott's Dance Perspective", Proceedings: Society of Dance Scholars (1995): 161-163.
- "Seeing Double", JAAC 52.2 (Spring 1994): 156-167. Formulation of and attempt to solve basic question about pictorial perception for psychologists, philosophers, artists &c., by reviewing and consolidating recent advances.
- "Photo-Opportunity", Canadian Review of American Studies 22.3 (Winter 1991): 501-528. Rev. of literature and independent essay, winner of 1991 award for paper that "best exemplifies the discipline of American Studies."
- "Real Imagining", Philosophy and Phenomenological Research 51.2 (June 1991): 389-394. From Walton symposium issue.
- "The Engine of Visualisation", Canadian Journal of Rhetorical Studies 1 (September 1991): 73-89.
- "Talbot's Technologies: Photographic Depiction, Detection, and Reproduction", JAAC 47.3 (Summer 1989): 263-276. Allegedly reprinted in Lettera Internazionale (Rome); sole philosophy publication in photo sesquicentennial year.
- "Comments on Halverson, 'Art for Art's Sake in the Paleolithic'", Current Anthropology 28.1 (1987): 81.
- "Comments on W. Davis, 'The Origins of Image Making'", Current Anthropology 27.3 (June 1986): 206f.
- "Drawing and Shooting", JAAC 44 (Winter 1985): 115-129, about photography (illus). JSTOR access: http://www.jstor.org/pss/430514
- review of Cretien van Campen, The Hidden Sense: Synesthesia in Art and Science, in Art Bulletin 91, no. 3 (September 2009): 385-388 (triple column). Discusses book's theses within wider contexts of recent writings on synaesthesia and neuroscience approaches to consciousness.
- review of James Cutting, The Impressionist Canon, in JAAC 65.4 (Fall 2007): 441-443. Available online: http://people.psych.cornell.edu/~jec7/pubs/maynardrev.pdf
- review of David Rosand, Drawing Acts: Studies in Graphic Expression and Representation, in JAAC 63.1 (Winter 2005): 81f.
- review of Barbara Savedoff, Transforming Images: How Photography Complicates the Picture, in Modernism and Modernity 8.2 (April 2001): 338-340.
- review of Marianne Hirsch, Family Frames: Photography, Narrative, and Postmemory, in Biography: An Interdisciplinary Quarterly 22.1 (Winter 1999): 118-121.
- review of Hubert Damisch, The Origin of Perspective, in JAAC 55.1 (Winter 1997): 84f
- review of Erwin Panofsky, Perspective as Symbolic Form (transl. C.S. Wood), and Martin Kemp, The Science of Art, in JAAC 52.2 (Winter 1997): 84f. 21.
- review of Richard Bolton (ed.), The Contest of Meaning: Critical Histories of Photography, in JAAC 50.1 (Winter 1992): 68-71. Editors' errata: JAAC 52.2 (Spring 1994): 167.
- review of J. Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern, in JAAC 49.4 (Fall 1991): 390-392.
- "Ravishing Atrocities": rev. of Michael Fried, Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane and W.J.T. Mitchell, Iconology: Image, Text, Ideology, in The London Review of Books 10.1 (January 7, 1988): 17f.
- review of Flint Schier, Deeper into Pictures, in Word and Image 3.4 (October-December 1987): 325f.
- "A Legacy of Light": rev. Ansel Adams, Ansel Adams: An Autobiography and Mark Klett, Travels in the Desert Southwest, in Canadian Review of American Studies 18.1 (Spring 1987):127-131.