Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring (...) to what extent formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

Philosophers working on aesthetics have paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on the emergence of aesthetics as a branch of philosophy over the course the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to (...) one another. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; (...) its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a (...) more spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a (...) more spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

The biological sciences -- Mathematics and the physical sciences -- The arts -- The social sciences, philosophy, and religion -- Politics and the law.

Margaret J. Osler - Early Modern Philosophy: Mind, Matter, and Metaphysics - Journal of the History of Philosophy 44:3 Journal of the History of Philosophy 44.3 478-479 Christia Mercer and Eileen O'Neill, editors. Early Modern Philosophy: Mind, Matter, and Metaphysics. New York: Oxford University Press, 2005. Pp. xxi + 298. Cloth, $55.00. The editors of this collection of essays by the late Margaret Wilson's former students and colleagues present this book "as a snapshot of (...) state-of-the-art history of early modern philosophy" . Many of the usual suspects make an appearance in these pages: Descartes, Spinoza, Locke, Berkeley, Malebranche, and Kant. A couple of new faces also come on stage: Damaris Cudworth , best known as Locke's companion but presented here as a philosopher in her own right, and the Cartesian Bernard le Bouvier de.. (shrink)

History of Modern Philosophy From Nicolas of Cusa to the Present Time by Richard Falckenberg In no other department is a thorough knowledge of history so important as in philosophy. Like historical science in general, philosophy is, on the one hand, in touch with exact inquiry, while, on the other, it has a certain relationship with art. With the former it has in common its methodical procedure and its cognitive aim; with the latter, its intuitive character (...) and the endeavor to compass the whole of reality with a glance. Metaphysical principles are less easily verified from experience than physical hypotheses, but also less easily refuted. Systems of philosophy, therefore, are not so dependent on our progressive knowledge of facts as the theories of natural science, and change less quickly; notwithstanding their mutual conflicts, and in spite of the talk about discarded standpoints, they possess in a measure the permanence of classical works of art, they retain for all time a certain relative validity. The thought of Plato, of Aristotle, and of the heroes of modern philosophy is ever proving anew its fructifying power. Nowhere do we find such instructive errors as in the sphere of philosophy; nowhere is the new so essentially a completion and development of the old, even though it deem itself the whole and assume a hostile attitude toward its predecessors; nowhere is the inquiry so much more important than the final result; nowhere the categories "true and false" so inadequate. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience and on a phenomenological interpretation of significance. In other words, this phenomenological interpretation (...) gives a positive content to the concept of post-modern art. (shrink)

In my contribution to this Concise Collection on Margaret Cavendish, I focus on teaching Cavendish’s work in the context of philosophy (and, more specifically, Early Modern Philosophy). I have three aims. First, to explain why teaching women from philosophy’s history is crucially important to the discipline. Second, to outline my own reflections on teaching Cavendish’s philosophy. Third, to defend a specific claim about the benefits of teaching Cavendish to philosophy students; namely, that introducing biographical (...) detail alongside philosophical ideas enriches the learning experience. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a (...) phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a (...) phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

In "Off Track" art and philosophy are the inspiration to look differently at daily life and organizations. The book is a plea to approach the complexity of the current world with new metaphors. The author calls this "hinking around". She sees that in "square worlds" there is a need for tools to approach entrenched patterns and systems differently and to get thought processes moving. Sarai van de Boel challenges the reader to look at one's own systems from the inside (...) with a philosophical approach. In eight chapters there are eight "tracks" to follow, but it is also possible to go off the rails. More than fifty works of art by well-known and lesser-known artists and designers play a role in these traces. The author questions the essence of their works and asks philosophical questions about phenomena they evoke. With Marlene Dumas, Marinus Boezem, L.A. Raeven, Ed Atkins, Wong Ping, Kazumasa Nagai, Remy Jungerman, Otto Piene, Eiko Ishioka, Campana brothers, Ann Demeulemeester and Kara Walker. The book ends with the Art & Philosophy Strategy, a theoretical framework for the use of art and philosophy. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the (...) art of Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

Modern Philosophy, the third volume in the history of philosophy series edited by Etienne Gilson, is a comprehensive critical study of philosophical thought from Descartes to Kant. Containing detailed discussions of individual figures, both major and minor, it treats not only their metaphysical and epistemological views but also their philosophies of art, religion, morals, and politics. It presents the historical settings in which they wrote and shows the dialectical interplay among their views. As Gilson and Langan point (...) out, there inevitably is some arbitrariness in deciding what to include or emphasize in a volume such as this, but, in my opinion, it would be difficult to give a more balanced and complete survey than theirs. (shrink)

Spinoza has very little to say concerning the creative arts. A careful consideration of those passages in which he discusses art, however, reveals art to have an importance for him that far outstrips what his relative silence might suggest. In this paper, I argue that Spinoza situates art at the genesis of rational, philosophical knowledge. The importance of abstract reason, Spinoza’s “second kind” of knowledge to which most of philosophy belongs, has been well appreciated by scholars. In the Ethics, (...) Spinoza offers a developmental account of this kind of knowledge: reason develops out of the knowledge of sense experience. By tracing his account of this process, I argue that art has an important role to play in the transition from sense experience to philosophical knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Early Modern Philosophy: Mind, Matter, and MetaphysicsMargaret J. OslerChristia Mercer and Eileen O’Neill, editors. Early Modern Philosophy: Mind, Matter, and Metaphysics. New York: Oxford University Press, 2005. Pp. xxi + 298. Cloth, $55.00.The editors of this collection of essays by the late Margaret Wilson's former students and colleagues present this book "as a snapshot of state-of-the-art history of early modern philosophy" (8). (...) Many of the usual suspects make an appearance in these pages: Descartes, Spinoza, Locke, Berkeley, Malebranche, and Kant. A couple of new faces also come on stage: Damaris Cudworth (Lady Masham), best known as Locke's companion but presented here as a philosopher in her own right, and the Cartesian Bernard le Bouvier de Fontenelle. As the title suggests, most of the papers deal with metaphysical topics, including the nature of matter, the nature of mind, and arguments for the existence of God. Notably absent from the stage are other figures who played key roles in seventeenth-century philosophy, such as Hobbes, Gassendi, and the Cambridge Platonists. The authors stay fairly close to the traditional canon of early modern philosophers and philosophical issues, but, then, so did Margaret Wilson.In their Introduction, Mercer and O'Neill briefly outline the recent historiography of early modern philosophy, at least as practiced in the Anglo-American tradition. These approaches range from the logical analysis of the arguments of historical figures to accounts that situate their subjects in the context of their times. Mercer and O'Neill identify two methodological principles that have emerged since the 1960s and that depart from the older analytic approach, which sought to use historical sources for new philosophical insights. The two principles, articulated by Janet Broughton in her paper in the volume, encourage a greater historical sensibility: (1) the history of philosophy should aim "to articulate how previous philosophers saw their projects"; and (2) the history of philosophy should accept "how remote the fundamental concerns of previous philosophers may be from our own (and how historically conditioned both their concerns and ours may be)" (4–5). The editors claim that all the authors in the volume accept principle (1), but disagree about whether they should abide strictly by the principle or go on to debate with their historical subjects about philosophical issues. Would that the essayists had been as historiographically aware as their editors.It is not surprising that a book honoring Margaret Wilson should contain four articles on Descartes. With a few noteworthy exceptions, the articles deal with very traditional problems growing out of the analytic tradition. Janet Broughton describes the results of a close reading of Descartes's skeptical arguments in the Meditations. Michael Ayers examines Descartes's dualism, demonstrating its relevance to modern discussions of personal identity and the mind-body problem. Edwin Curley considers Descartes's ontological argument for the existence of God, revisiting his own earlier analysis of this question. And Louis E. Loeb provides a critical analysis of Descartes's mind-body dualism. Although all these papers are based on close textual analysis, they largely ignore the historical and intellectual context within which Descartes was writing, focusing instead on the logic of his arguments. They give little acknowledgement to the fact that Descartes was working in intellectually turbulent times as philosophers wrestled with the relationships among the foundations of knowledge, natural philosophy, and theology, or that these factors might have been formative influences on the development of his thought.Most of the other papers take a similar approach. Catherine Wilson sets out to find contradictions between Spinoza's "severe ontology" and his ethical program, and proceeds to explain why his ethical theory has been less influential on modern ethical theory than the ideas of Hume or Kant. She ignores the influence of medieval Jewish philosophy on [End Page 478] Spinoza's thinking, suggesting instead a Platonic influence for which she provides no textual evidence. Roger S. Woolhouse and Jonathan Bennett provide close readings of Locke's theory of matter. Useful as explications, neither paper contains any discussion of the mechanical philosophy more generally or the theological implications of matter theory in seventeenth-century natural philosophy. Vere Chappell examines Locke... (shrink)

This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world."--BOOK JACKET.

Fifty years after his death, Walter Benjamin remains one of the great cultural critics of this century. Despite his renown, however, Benjamin's philosophical ideas remain elusive/m-/often considered a disaggregated set of thoughts not meant to cohere. This book provides a more systematic perspective on Benjamin, laying claim to his status as a philosopher and situating his work in the context of its time. Exploring Benjamin's theory of language, spoken and nonspoken, Rainer Rochlitz shows how Benjamin reconceptualized traditional ideas of language, (...) art, and history. Offering an expansive assessment of a unique twentieth-century thinker, this volume provides an indispensable guide for readers of Benjamin's recently released collected works. (shrink)

Anders Pettersson presents a comprehensive account of the foundations of literature, grounded in an original analysis of the interactions between author and reader. Drawing on post-Gricean pragmatics and Nicholas Wolterstorff's notion of presentationality, Pettersson develops the idea of the verbal text and conveys an integrated and nuanced understanding of literary experience, its conditions, and the values it affords. In the second part of Verbal Art he systematically examines the cognitive, affective, and formal aspects of the literary work and explores their (...) interrelations.Pettersson demonstrates the implications and applications of the theory through a series of detailed studies of literary works, taking care to show that his theory is compatible with a broad variety of perspectives. Combining an intimate knowledge of modern literary theory and the aesthetics of literature with innovative applications of linguistics and cognitive psychology to the literary work, he provides a thorough treatment of fundamental problems in the area, including the concept of a text or work, the concept of form, and the distinctiveness of the literary use of language. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy (...) of art into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

Transparence et opacité fut écrit à la fin des années 1960 et parut pour la première fois en 1975. Cet essai majeur sur les fondements théoriques de l'art moderne avait disparu des librairies depuis près de vingt ans. Partant d'une analyse de la théorie de l'art de Konrad Fiedler, qui écrivit entre 1876 et 1895, Philippe Junod se livre en fait à une archéologie de la modernité et envisage l'ensemble de la théorie de l'art et de l'esthétique depuis Platon et (...) Aristote. Il établit que l'idée d'art moderne naît quand sont abandonnées aussi bien la voie du réalisme que celle de la peinture d'idées, le naturalisme comme le symbolisme, pour en venir à une troisième voie, celle de l'opacité où l'œuvre opère dans son autonomie, sans transparence ni référence, en faisant prévaloir les droits de la vision et du visible sur ceux de la reconnaissance et du déchiffrement. À un moment où le moderne apparaît comme un moment de l'histoire de l'art, l'enquête riche et minutieuse de Philippe Junod permet de comprendre les questionnements et les enjeux de toute une époque dont nous sortons à peine. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy (...) of art into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

The interrupted absolute : art, religion and the "new categorical imperative" -- "The ever-broken promise of happiness" : interrupting art, or Adorno -- "Absolute insomnia" : interrupting religion, or Levinas -- "To preserve the question" : interrupting the book, or Jabès -- Conclusion : sharing the imperative.

This is a new release of the original 1953 edition.

© Mind Association 2018Some time ago I was at the Bibliothèque Nationale in Paris investigating the teaching of philosophy during Descartes’ time. Fine monographs had already been published on the various regimens and practices at Descartes’ college at La Flèche, and Jesuit institutions in general, as well as the collegiate curriculum in seventeenth-century France. But as interested as I was in the form of the teaching—how philosophy was taught, where, and when—I was more interested in its content—what was (...) actually taught. A fair number of early modern textbooks and some manuscripts of lectures and student notebooks were still available; beyond that, one could find reports of weekly or monthly disputations, condemnations of specific doctrines, various broadsheets, manifestos, and student theses and dissertations. After overcoming some administrative resistance, I found myself in a room at the Cabinet d’Estampes looking at a... (shrink)

The relationship between philosophy and aesthetic criticism has occupied Robert Pippin throughout his illustrious career. Whether discussing film, literature, or modern and contemporary art, Pippin's claim is that we cannot understand aesthetic objects unless we reckon with the fact that some distinct philosophical issue is integral to their meaning. In his latest offering, Philosophy by Other Means, we are treated to a collection of essays that builds on this larger project, offering profound ruminations on philosophical issues in (...) aesthetics along with revelatory readings of Henry James, Marcel Proust, and J. M. Coetzee. (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it (...) provides a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the (...) anthology. Unlike other anthologies on the market, The Philosophy of Art is both comprehensive and affordable, making it the ideal book for course use. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

Some think of art as opposed to philosophy and science, and indeed sometimes opposed to morality. Here, Wall explores the fundamental ways of pursuing aesthetics, speculation, science, mathematics, and morality. Conceptually these are not opposed. He illustrates the ideas with reference to an array of ancient and modern thinkers.