William Wordsworth and Philosophical Necessity
Samuel Taylor Coleridge and William Hazlitt both testified that William Wordsworth in his radical years believed in the doctrine of philosophical necessity. Prompted by that testimony, this essay undertakes a detailed reconstruction of Wordsworth’s necessitarianism. Wordsworth was most probably converted to necessity by his reading of William Godwin’s Political Justice. As a convert to the doctrine in its Godwinian formulation, Wordsworth would have accepted several ideas implicated in the necessitarian infrastructure of Political Justice: the human mind’s deterministic obligation to reasoned preference, the principle of universal benevolence, a marginalization of human agency and guilt, a prospective approach to ethical questions, and the inevitable triumph of reason and social reform. Wordsworth apparently believed in this complex of ideas only briefly, for the moral pessimism of Adventures on Salisbury Plain intimates a lapsing of the poet’s Godwinism, including his loss of faith in necessity, by late 1795. By 1797, however, Coleridge allowed Wordsworth to reclaim his necessitarianism by introducing him to an alternate version of the doctrine indebted to Hartleyan associationism and freed from its objectionable Godwinian features. Wordsworth grandly expounds this new version of philosophical necessity in 1798 poetry written for The Recluse, but then suddenly seems to lose interest in the idea. In concluding, the essay invokes both Coleridge’s 1799 dissatisfaction with necessity and Wordsworth’s later writing, especially The Excursion, to speculate about the poet’s reasons for finally rejecting the doctrine of philosophical necessity in late 1798.
Disowned by Memory: Wordsworth's Poetry of the 1790s
Although we know him as one of the greatest English poets, William Wordsworth might not have become a poet at all without the experience of personal and historical catastrophe in his youth. In "Disowned by Memory," David Bromwich connects the accidents of Wordsworth's life with the originality of his writing, showing how the poet's strong sympathy with the political idealism of the age and with the lives of the outcast and the dispossessed formed the deepest motive of his writings of the 1790s. "This very Wordsworthian combination of apparently low subjects with extraordinary 'high argument' makes for very rewarding, though often challenging reading." Kenneth R. Johnston, "Washington Times" "Wordsworth emerges from this short and finely written book as even stranger than we had thought, and even more urgently our contemporary." Grevel Lindop, "Times Literary Supplement" "[Bromwich's] critical interpretations of the poetry itself offer readers unusual insights into Wordworth's life and work." "Library Journal" "An added benefit of this book is that it restores our faith that criticism can actually speak to our needs. Bromwich is a rigorous critic, but he is a general one whose insights are broadly applicable. It's an intellectual pleasure to rise to his complexities." Vijay Seshadri, "New York Times Book Review""
FlowBrush: optical flow art
The depiction of motion in static representations has a long tradition in art and science alike. Often, motion is depicted by spatio-temporal summarizations that try to preserve as much information of the original dynamic content as possible. In our approach to depicting motion, we remove the spatial constraints and generate new content steered by the temporal changes in motion. Applying particle steering in combination with the dynamic color palette of the video content, we can create a wide range of different image styles. With recorded videos, or by live interaction with a webcam, one can influence the resulting image. We provide a set of intuitive parameters to affect the style of the result, the final image content depends on the video input. Based on a collection of results gathered from test users, we discuss example styles that can be achieved with FlowBrush. In general, our approach provides an open sandbox for creative people to generate aesthetic images from any video content they apply.