This paper has two aims. First, I seek to show that Kendall Walton's analysis of the participatory character of our imaginative engagement in games of make-believe provides a powerful explanatory framework that can be used to address some of the central problems that still remain unresolved in contemporary accounts of living-presence response, including those put forward by David Freedberg and Alfred Gell. Second, I argue that Walton's focus on the activities of ‘appreciators’ prevents him from considering the possible application of (...) his theory to other kinds of activity, even where this would permit a genuine enrichment or extension of his position. Once we open up the field of enquiry to include the various ceremonial, civic, religious, and other functions that works of art fulfil, the analogy to the participatory character of games of make-believe becomes stronger rather than weaker. (shrink)

Information can be public among a group. Whether or not information is public matters, for example, for accounts of interdependent rational choice, of communication, and of joint intention. A standard analysis of public information identifies it with (some variant of) common belief. The latter notion is stipulatively defined as an infinite conjunction: for p to be commonly believed is for it to believed by all members of a group, for all members to believe that all members believe it, and so (...) forth. This analysis is often presupposed without much argument in philosophy. Theoretical entrenchment or intuitions about cases might give some traction on the question, but give little insight about why the identification holds, if it does. The strategy of this paper is to characterize a practical-normative role for information being public, and show that the only things that play that role are (variants of) common belief as stipulatively characterized. In more detail: a functional role for “taking a proposition for granted” in non-isolated decision making is characterized. I then present some minimal conditions under which such an attitude is correctly held. The key assumption links this attitude to beliefs about what is public. From minimal a priori principles, we can argue that a proposition being public among a group entails common commitment to believe among that group. Later sections explore partial converses to this result, the factivity of publicity and publicity from the perspective of outsiders to the group, and objections to the aprioricity of the result deriving from a posteriori existential presuppositions. (shrink)

This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...) philosophical enquiry. (shrink)

This paper addresses two key works in the eighteenth‐century debate on the problem of taste: the Abbé Du Bos's Réflexions critiques sur la poésie et sur la peinture (1719) and David Hume's ‘Of the Standard of Taste’ (1757). A successful solution to the ‘paradox of taste’ should sustain the democratising impulse behind Du Bos's appeal to the judgment of the ‘public’ whilst, at the same time, acknowledging the role of learning and discovery which underpins Hume's recourse to the opinion of (...) the best qualified critics. This can be achieved, it is argued, by taking up a standpoint which is internal to our actual arguments or disputes about art, drawing upon and recommending a set of practices which allow for the development and revision of our judgments about works of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 115-132 [Access article in PDF] Schiller's Theory of Landscape Depiction Jason Gaiger This paper offers a critical discussion of the theory of landscape depiction which Friedrich Schiller developed in an important but neglected article on the work of Friedrich Matthisson, published in 1794. 1 The question of the value and status of landscape painting and poetry was far from settled (...) at the end of the eighteenth century, and Schiller's essay should be seen as making an important contribution to an ongoing debate. 2 The second half of the eighteenth century is marked by a profound ambivalence towards the natural world. On the one hand there is a remarkable "rediscovery" of nature, evidenced in such diverse but related phenomena as the vogue for English gardens and the appreciation of wild and "untamed places," such as the Alps and the Herz mountains. It is also the age of "sentiment," embracing a heightened sensitivity to all aspects of the physical world. And yet when we turn to the visual arts, we find landscape painting ranked far below history painting and portraiture. Precedence is given to the representation of human actions and emotions, and the depiction of the human figure remains the highest goal of ambitious art.The modern hierarchy of the genres was first established on a firm theoretical and practical basis with the founding of the French Royal Academy in the seventeenth century. The painter of living animals is ranked higher than the [End Page 115] painter of inanimate nature who depicts "choses mortes et sans mouvement." 3 The painter of human subjects, who imitates "the most perfect work of God," stands higher still. The highest achievement to which the artist can aspire, however, is history painting, the depiction of groups of figures in themes derived from biblical and mythical sources. To achieve this, the artist cannot depict what he sees but must employ both knowledge and imagination. The fundamental opposition here is between painting as a merely imitative or mechanical art, which is addressed to the eye alone, and painting as a work of "invention" or "imagination," which is addressed to the mind. Only the latter constitutes a properly liberal art, entitling the painter to stand alongside the poet as "un auteur ingénieux et savant" over and above the mere artisan or skilled laborer.The great popularity enjoyed by landscape painting in the seventeenth and eighteenth centuries was not met by any comparable elevation in its status as a fine art. Addressing students of the Royal Academy in London in 1770, Joshua Reynolds could continue to dismiss landscape and still-life as the "meaner walks of painting" which require only "mechanical" expertise. 4 For Reynolds the status of painting as a fine art is established through its treatment of the great subjects of history painting, that is, the depiction of human passions and the intellect. Only in tackling such themes does the artist succeed in addressing the imagination, which Reynolds describes as the "great end of art." 5 Although of comparatively recent origin, the genre of "landscape poetry" remained equally problematic and could not easily be reconciled with classicist ideals. New categories seemed to be required to comprehend the work of poets such as Albrecht von Haller and James Thomson, in which the varied and ever-changing aspects of the natural landscape were made the central protagonists of the poetic drama. While traditional forms such as the bucolic, the Arcadian, and the pastoral allowed the depiction of rural existence, the new "descriptive poetry" sought to celebrate the life of nature independently of man's intervening presence: it is nature itself rather than man's relation to nature which is made the poet's primary concern.Schiller's review of the third, expanded edition of Matthisson's poetry appeared in two parts in the Jenaer Allgemeine Literatur-Zeitung, 11-12 September 1794. While the second half of the review is given over to a detailed discussion of Matthisson's poetry, the first part is reserved for an extended theoretical discussion in which Schiller... (shrink)

The emergence of Bildwissenschaft as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft (...) and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image. (shrink)

This paper challenges the widely held assumption that paintings and other works of graphic art have a communicable rhythmic structure. I defend the view that although the experience of viewing a picture takes place in time, and thus is successive, it cannot be temporally structured in a sufficiently determinate manner to sustain the kind of attentional focus required for the communication of even simple rhythmic patterns. With reference to examples of both abstract and figurative painting, I argue that the graphic (...) arts—unlike music and poetry—are non-sequential and that this has important consequences for how a work of graphic art is perceived. In the concluding sections of the paper, I consider some recent empirical research that offers an alternative way of approaching these issues. (shrink)

The book brings together thirteen essays presented to medical and psychiatric societies, mainly during the 1970's and 1980's. In these essays, Gadamer justifies the reasons for a philosophical interest in health and medicine, and a corresponding need for health practitioners to enter into a dialogue with philosophy.

This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...) philosophical enquiry. CiteULike Connotea Del.icio.us What's this? (shrink)

Drawing on recent attempts to critically reconstruct the ideas of Heinrich Wölfflin, this paper argues that there is a specific ‘logic of depiction’ that is distinctive to visual as opposed to verbal forms of representation. The aim is to provide a set of objective parameters that can allow a comparative analysis of the formal organization of pictures despite differences in period, subject matter, format, etc. The paper seeks to show that such an analysis is possible and that it possesses explanatory (...) force. Its frame is a critical engagement with Richard Wollheim's theory of style. Wollheim holds that general style terms are merely tools of classification and that they are relative to the changing point of view of those who seek to understand the art of the past. However, the critical reconstruction of Wölfflin's fundamental concepts aims to identify necessary conditions for visual representation as such. The fundamental concepts function not as taxonomic categories but as ‘limit concepts’ that demarcate a scale of possibilities and thus enable meaningful comparison of artworks. (shrink)

The achievements of the textile industry in Roman Britain are often underestimated as a result of the meagreness of our available evidence. The Edict on maximum prices issued by Diocletian in A.D. 301 shows that British capes commanded high prices on the markets of the Empire, and that in the late third century A.D. British rugs were the best in the world. In view of the competition from the traditional centres of rug manufacture in the East, this is an astonishing (...) achievement. (shrink)

The received translation and interpretation of many of the technical terms current in the textile industry of the Roman Empire are inaccurate, because lexicographers have either fought shy of being precise, or have thought that they recognized in the ancient world technical processes which originated at a much later date. The evidence is often equivocal or insufficient, but may still yield details that have been overlooked. The textile expression scutulatus, to take an example, deserves more attention than Blümner has devoted (...) to it. When it refers to the appearance of a garment, Lewis and Short, s.v. scutulatus, translate ‘diamond or lozenge-shaped, checkered’. It seems worth while to attempt a more precise translation, and, if possible, to estimate the significance in context of the goods so designated. (shrink)

Living out of silence, out of a fully functioning, lovingly attentive mind, and not just out of thought, out of a partially functioning mind, is requisite for depth or profundity in living or relating. A fully attentive, truly silent or meditative mind sees that there is real dualism of time and the timeless and that time and the timeless each has its own unique value. The timeless, or real silence, that which alone can make for depth in one's living and (...) relating, can be there only when, in one's awareness, time and all that is related to time, have come to an end. An examination of a wide variety of statements made by writers, both past and present, shows that these understandings are seldom there in contemporary writings, just as they were not there in writings that have come down to us from the past. 'Living beyond the One and the Many' invites readers to consider the possibility that what is presented in it can bring deep meaning to one's way of living in the world"--Publisher's description, back cover. (shrink)

This reader, a companion to The Open University's four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists. The writings were originally published as freestanding essays or chapters in books, and they reflect the diversity of art historical interpretations and theoretical approaches to twentieth-century art. Accessible to the general reader, this book may be read independently or to supplement the materials explored in the four course texts. The volume includes a general introduction (...) as well as a brief introduction to each piece, outlining its origin and relevance. (shrink)

O artigo tem como foco a participação das organizações operárias na formação educacional do trabalhador rio-grandense. Com base na análise de obras repertoriadas sobre o tema, identifica, de um lado, os aspectos em destaque na bibliografia e, de outro, as experiências operárias mais significativas para a formação do trabalhador. Centra-se na Primeira República, revisando a literatura e caracterizando as práticas pedagógicas e a influência das correntes anarquistas.

This paper addresses two key works in the eighteenth‐century debate on the problem of taste: the Abbé Du Bos's Réflexions critiques sur la poésie et sur la peinture and David Hume's ‘Of the Standard of Taste’ . A successful solution to the ‘paradox of taste’ should sustain the democratising impulse behind Du Bos's appeal to the judgment of the ‘public’ whilst, at the same time, acknowledging the role of learning and discovery which underpins Hume's recourse to the opinion of the (...) best qualified critics. This can be achieved, it is argued, by taking up a standpoint which is internal to our actual arguments or disputes about art, drawing upon and recommending a set of practices which allow for the development and revision of our judgments about works of art. (shrink)

If the world itself is metaphysically indeterminate in a specified respect, what follows? In this paper, we develop a theory of metaphysical indeterminacy answering this question.

Husserlian phenomenology, as the study of conscious experience, has often been accused of solipsism. Husserl’s method, it is argued, does not have the resources to provide an account of consciousness of other minds. This chapter will address this issue by providing a brief overview of the multiple angles from which Husserl approached the theme of intersubjectivity, with specific focus on the details of his account of the concrete interpersonal encounter – “empathy.” Husserl understood empathy as a direct, quasi-perceptual form of (...) intentionality through which the sense of the Other is constituted. Furthermore, his account of empathy is holistically integrated with his overall theory of intersubjectivity, including his discussions of the objectivity of nature, and the social, historical, and communal aspects of subjectivity. Husserl’s theory of empathy continues to cast a long shadow, influencing both the analytic and continental approaches to the problem of other minds, as well as contemporary account of social cognition in the cognitive sciences. (shrink)

Art in Theory 1648-1815 provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars.

An Essay on Human Action seeks to provide a comprehensive, detailed, enlightening, and (in its detail) original account of human action. This account presupposes a theory of events as abstract, proposition-like entities, a theory which is given in the first chapter of the book. The core-issues of action-theory are then treated: what acting in general is (a version of the traditional volitional theory is proposed and defended); how actions are to be individuated; how long actions last; what acting intentionally is; (...) what doing one thing by doing another is; what basic action is; and what omitting to do something is. Attention is also given to the concepts of causation, intention, volition, deciding, choosing, and trying. Finally, a libertarian account of free action is tentatively proposed and defended. (shrink)

We develop and apply a multi-dimensional conception of explanatory depth towards a comparative analysis of inflationary and bouncing paradigms in primordial cosmology. Our analysis builds on earlier work due to Azhar and Loeb (2021) that establishes initial condition fine-tuning as a dimension of explanatory depth relevant to debates in contemporary cosmology. We propose dynamical fine-tuning and autonomy as two further dimensions of depth in the context of problems with instability and trans-Planckian modes that afflict bouncing and inflationary approaches respectively. In (...) the context of the latter issue, we argue that the recently formulated trans-Planckian censorship conjecture leads to a trade-off for inflationary models between dynamical fine-tuning and autonomy. We conclude with the suggestion that explanatory preference with regard to the different dimensions of depth is best understood in terms of differing attitudes towards heuristics for future model building. (shrink)

Telling a patient that the outcome of his illness is not good, or even hopeless, requires sensitivity and the ability to communicate with him in the setting of a hospital which is an unnatural environment divorced from family and friends. It is a task which must be taught and learned by doctors and nurses.