Analogue experiments have attracted interest for their potential to shed light on inaccessible domains. For instance, ‘dumb holes’ in fluids and Bose–Einstein condensates, as analogues of black holes, have been promoted as means of confirming the existence of Hawking radiation in real black holes. We compare analogue experiments with other cases of experiment and simulation in physics. We argue—contra recent claims in the philosophical literature—that analogue experiments are not capable of confirming the existence of particular phenomena in inaccessible target systems. (...) As they must assume the physical adequacy of the modelling framework used to describe the inaccessible target system, arguments to the conclusion that analogue experiments can yield confirmation for phenomena in those target systems, such as Hawking radiation in black holes, beg the question. (shrink)

Introduction for the Synthese Special Issue on Spacetime Functionalism.

Paul Crowther argues that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.

Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In this 2002 book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of (...) the pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium. Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment. (shrink)

Though it enjoys widespread support, the claim that perceptual experiences possess nonconceptual content has been vigorously disputed in the recent literature by those who argue that the content of perceptual experience must be conceptual content. Nonconceptualism and conceptualism are often assumed to be well-defined theoretical approaches that each constitute unitary claims about the contents of experience. In this paper I try to show that this implicit assumption is mistaken, and what consequences this has for the debate about perceptual experience. I (...) distinguish between two different ways that nonconceptualist proposals about perceptual content can be understood: as claims about the constituents that compose perceptual contents or as claims about whether a subject’s undergoing experiences with those contents requires them to possess the concepts that characterize those contents. I maintain that these ways of understanding conceptualism and nonconceptualism are orthogonal to one another. This is revealed by the conceptual coherence of positions in which the contents of experiences have both conceptual and nonconceptual features; positions which possess their own distinctive sources of philosophical motivation. I argue that the fact that there is a place in conceptual space for such positions, and that there may be good reason for theorists to adopt them, creates difficulties for both the central argument for nonconceptualism and the central argument for conceptualism. I set out each of these arguments; the Argument from Possession-Independence and the Epistemically-Driven Argument. I then try to show how the existence of mixed positions about perceptual content derived from a clear distinction between compositional and possessional considerations constitutes a significant obstacle for those arguments as they stand. The takehome message of the paper is that unless one clearly acknowledges the distinction between issues about the composition of perceptual content and issues about how subject’s capacities to undergo certain experiences relates to their possession of concepts one runs the risk of embracing unsatisfying philosophical arguments in which conclusions relevant to one conception of nonconceptual and conceptual content are grounded on arguments that concern only the other; arguments that cannot, in themselves, sustain them. (shrink)

In times of crisis, when current theories are revealed as inadequate to task, and new physics is thought to be required—physics turns to re-evaluate its principles, and to seek new ones. This paper explores the various types, and roles of principles that feature in the problem of quantum gravity as a current crisis in physics. I illustrate the diversity of the principles being appealed to, and show that principles serve in a variety of roles in all stages of the crisis, (...) including in motivating the need for a new theory, and defining what this theory should be like. In particular, I consider: the generalised correspondence principle, UV-completion, background independence, and the holographic principle. I also explore how the current crisis fits with Friedman’s view on the roles of principles in revolutionary theory-change, finding that while many key aspects of this view are not represented in quantum gravity, the view could potentially offer a useful diagnostic, and prescriptive strategy. This paper is intended to be relatively non-technical, and to bring some of the philosophical issues from the search for quantum gravity to a more general philosophical audience interested in the roles of principles in scientific theory-change. (shrink)

This is the first book dedicated to Husserl's aesthetics. Paul Crowther pieces together Husserl's ideas of phantasy and image and presents them as a unified and innovative account of aesthetic consciousness. He also shows how Husserl's ideas can be developed to solve problems in aesthetics, especially those related to visual art, literature, theatre, and nature. After outlining the major components of Husserl's phenomenological method, Crowther addresses the scope and structure of Husserl's notion of aesthetic consciousness. For Husserl, aesthetic (...) consciousness in all its forms involves phantasy-where items or states of affairs are represented as if actually perceived or experienced, even though they are not, in fact, given in the present perceptual field. Husserl also makes some extraordinarily interesting links between aesthetic consciousness and nature, showing how natural things and environments become instigators of such consciousness when apprehended in the appropriate terms. This "unreality" of the object of aesthetic consciousness anticipates contemporary debates about pictorial representation and is also relevant to Husserl's accounts of literature and theatre. The Phenomenology of Aesthetic Consciousness and Phantasy will appeal to scholars and advanced students interested in aesthetics, philosophy of art, phenomenological aesthetics, and Husserl's philosophy. (shrink)

This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

Watching, looking at, and listening to, are all things that perceiving agents actively do. Though the occurrence of these activities appears to entail perception of elements of the agent's environment, perception is not something that can be actively done by agents. This raises the question how perceptual activity and perception are related to one another. This chapter, through reflecting on a discussion of listening offered by Brian O'Shaughnessy, argues that listening to material particulars ought to be understood as the agential (...) maintenance of aural awareness of those particulars, with the aim of knowing what sounds they are making. He goes on to explore some of the consequences of these claims about listening for exercises of perceptual agency involving the other sensory modalities. (shrink)

R.K. Elliott's essays on aesthetics put forward a number of common themes that together constitute a unified approach to aesthetics. Throughout his writing, Elliott combines analytic rigour with sympathy for ideas in continental philosophy. This book, the first to gather together Elliott's key essays, powerfully illuminates the unifying role of imagination and the aesthetic in human experience.

Many system architects select their system methodologies without explicit consideration of the philosophical perspectives that impact their decisions. This paper describes how the concepts of ontology and epistemology apply in systems science. Ontology is how we specify terms of reference for existence, allowing us to understand the theory of existence via an ‘existence framework’. Epistemology, the theory of knowledge, allows us to explore new models and theories of knowledge acquisition so the best system-based methodologies can be deployed to solve complex (...) system problems. After introducing these concepts, the paper presents system science issues and assesses the impact of ontological, axiological and epistemological perspectives on system methodology selection, research, system design and deployment. An ontological viewpoint such as realism, as an objective view is contrasted versus nationalism, a personal perceptional view. An epistemological viewpoint is explored comparing knowledge as a product of sensory perception or rational reflection. The paper’s significant contribution is that it helps system architects understand that their philosophical views of systems science impact their system methodology choices. (shrink)

Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...) moment : artistic projections of time -- Conclusion : the status and future of art. (shrink)

In this article, the authors use the context of childbirth to consider the power that is endemic in certain forms of evidence within maternity care research. First, there is consideration of how the current evidence hierarchy and experimental‐based studies are the gold standard to determine and direct women's maternity experiences, although this can be at the detriment of care and irrespective of women's needs. This is followed by a critique of how the predominant means to assess women's experiences via satisfaction (...) surveys is of limited utility, offering impartial and restricted insights to assess the quality of care provision. A counter position of hermeneutic phenomenology as research method is then described. This approach offers an alternative perspective by penetrating the taken‐for‐granted ordinariness of an event (such as childbirth) to elicit rich emic meanings. Whilst all approaches to understanding maternity care have a place, depending on the question(s) being asked, the contribution of phenomenology is how it can uncover a depth of contextual understanding into what matters to women and to inform and transform care delivery. (shrink)

In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing (...) the logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment. (shrink)

ABSTRACT Throughout the early modern period, the most widely read astronomical textbooks were Johannes de Sacrobosco's De sphaera and the Theorica planetarum, ultimately in the new form introduced by Georg Peurbach. This essay argues that the images in these texts were intended to develop an “intelligent eye.” Students were trained to transform representations of specific heavenly phenomena into moving mental images of the structure of the cosmos. Only by learning the techniques of mental visualization and manipulation could the student “see” (...) in the mind's eye the structure and motions of the cosmos. While anyone could look up at the heavens, only those who had acquired the intelligent eye could comprehend the divinely created order of the universe. Further, the essay demonstrates that the visual program of the Sphaera and Theorica texts played a significant and hitherto unrecognized role in later scientific work. Copernicus, Galileo, and Kepler all utilized the same types of images in their own texts to explicate their ideas about the cosmos. (shrink)

ABSTRACT Throughout the early modern period, the most widely read astronomical textbooks were Johannes de Sacrobosco's De sphaera and the Theorica planetarum, ultimately in the new form introduced by Georg Peurbach. This essay argues that the images in these texts were intended to develop an “intelligent eye.” Students were trained to transform representations of specific heavenly phenomena into moving mental images of the structure of the cosmos. Only by learning the techniques of mental visualization and manipulation could the student “see” (...) in the mind's eye the structure and motions of the cosmos. While anyone could look up at the heavens, only those who had acquired the intelligent eye could comprehend the divinely created order of the universe. Further, the essay demonstrates that the visual program of the Sphaera and Theorica texts played a significant and hitherto unrecognized role in later scientific work. Copernicus, Galileo, and Kepler all utilized the same types of images in their own texts to explicate their ideas about the cosmos. (shrink)

Re-working the Gramscian idea of the ‘organic’ intellectual from the cultural-political sphere to Higher Education (HE), suggests the need to develop critical and questioning ‘counter hegemonic’ ideas and behaviour in community education students. Connecting this reworking to the Habermasian theory of communicative action, suggests that these students also need to learn how to be constructive in developing such knowledge. Working towards critical and constructive capacities is particularly relevant for students who learn through acting in practice settings where general principles and (...) purposes acquired in the academy need to be interpreted in response to the unique demands of specific situations. From a Gramscian perspective, enabling students to develop the qualities of organic intellectuals means that lecturers have a duty to teach critical knowledges which the student will be unfamiliar with and unlikely to possess. If teaching is not to become simply didactic, however, there is also a need to acknowledge Habermas’s contention that all knowledge is contingent. This does not mean that knowledge is merely relative, subjective, or essentially interest serving, as some postmodernists would have it. In Habermasian terms, knowledge is developed through a rigorous process of contesting validity claims according to procedures appropriate to discipline areas. In these procedures, contestation occurs to the point where there is general agreement about the best current understanding, until such time as this is overtaken by ideas with a better claim. The danger is that over commitment to contestation in the classroom undermines subject knowledge and ultimately the authority of the educator. Speaking Habermas to Gramsci, and vice versa, helps socially and politically committed educators to construct a space in which didactic and discursive moments purposefully alternate. (shrink)

This paper analyzes the kantian aspects of greenberg's theory of modernism. It is argued first that the distinctiveness of greenberg's theory lies not in a kantian-Style aesthetic formalism, But rather in an intellectualist notion of aesthetic value which greenberg associates with a kantian-Style self-Critical method. It is then argued that greenberg's use of this kantian notion of self-Criticism in order to explain the development of modernist painting, Leads him into insuperable problems.

This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...) part. My disagreement, how ever, does not annul the evident quality of the argument in this w ork. It is recommended reading material for all those aestheticians w ho are interested in the cognitive and non-cognitive functionality of art w orks and in the possibility of any influence of art on societal change. I w ill now discuss the most crucial steps in Crow ther's argument. Postmodernists claim to have undone the alleged rigidity of modern categories, like that of the autonomous subject, but according to Crow ther they reach this `achievement' by overemphasizing the fluidity of modes of know ledge and experience, and of their status as social constructs, but there may w ell exist flexible constants. Aesthetics can help w ith the analysis of these flexible constants, not by looking for the essences of art or aesthetic experience, but by supplementing our theoretical assessments w ith a critique of art. Crow ther proposes to view aesthetic experiences as w ell as w orks of art as functions of critical aw areness and of body-hold, an historicized version of Merleau-Ponty's much neglected notion of embodiment. Critical aesthetics actualizes the critical aw areness involved in our aesthetic experiences. Art, defined in terms of originality, roots in the body-hold of the artist, w ho moulds his medium to solve technical problems traditional art forms confront him w ith. Postmodernism involves only tw o theses, really. First, contemporary experience and sensibility are analyzed as imbued by the shocks generated by the rapid succession of mechanically reproduced events.. (shrink)

One of the problems in phenomenological approaches to art, is to understand the link between the ontologies of art media and questions of value. Unfortunately, recent discussions of art’s broader cultural context have not helped in this task. There has been a widespread assumption that the historical circumstances of art’s cultural production, its constituencies of reception, and contexts of transmission and the like, render artistic value relative to the time and place of its production. My purpose in this critical discussion, (...) is to move beyond the restrictions and contradictions of such relativism. I shall argue that art engages with factors that are of universal rather than relative import, and that questions of value are connected to this. In doing so, I will hope, in other words, to subvert the relativist orthodoxy by clarifying art’s reality as art. I shall do so as perversely as possible by, in Part One, criticizing and developing one of the great inspirations for relativism, namely Derrida’s notion of différance. In Part Two, I shall use components of that concept, namely difference and iterability to indicate the basis of art’s reality qua art, the justification of canonic work, and, in the course of this, art’s legitimate claim to high-cultural status. (shrink)

Alzheimer's disease, a form of senile dementia, is characterised by two kinds of pathological deposits in the brain, called plaques and tangles. The molecular nature of the deposits has been identified but there is as yet little understanding of the underlying biochemistry and cell biology that lead to their formation. Progress in this area would be greatly aided by a realistic animal model. Two recent papers describe the production of transgenic mice that develop significant aspects of Alzheimer‐like pathology. The mice (...) produced by Games et al.(1) develop plaques while those produced by Götz et al.(2) display the early stages of tangle pathology. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Kant's extensive discussion of the sublime has received scant attention. This neglect, indeed, is a general characteristic of the reception of Kant's aesthetics in the Anglo-American, and German traditions of philosophy in the twentieth century. The reasons behind it have been usefully summarised by Paul Guyer. ;My approach will be as follows. In Part One of this study , I shall first outline the sublime as it is understood (...) in sources available to Kant--notably the theories of Addison, and Burke. I will then trace how Kant adapts these approaches in his pre-Critical aesthetics, and how he goes beyond them by, in effect, stipulatively defining the sublime as a moral concept in his Critical ethics. In Part Two I will first set the scene for a consideration of Kant's mature theory of the sublime, by discussing how moral factors shape the overall strategy in The Critique of Judgement, and also figure in his account of the judgement of taste. I shall then go on to elaborate and critically review Kant's structures and sources of argument in those sections of the third Critique that deal with judgements of sublimity. In particular, I will argue that whilst his theory of sublimity does fit in well with the overall strategy of the third Critique, the pressures exerted upon it by the Critical ethics are such that he does not succeed in establishing the credentials of sublimity as an aesthetic concept. In Part Three , however, by using some of Kant's basic insights, I will hope to establish these credentials and to apply the theory so derived, to the work of art. I will then proceed to some more general conclusions. ;Considering the wide ground to be covered by this study, and the necessary limitations on its length, it will not be possible to give Kant's concepts and arguments the kind of extensive and finely detailed analysis which has been provided by Paul Guyer. I will be concerned, rather, to provide working definitions of Kant's major concepts, and to trace the broad development of his arguments. (shrink)

The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is not logically (...) prior to reflective thought, and that Merleau-Ponty fails to do justice to the scope of the subject-object relation. Specifically, he overlooks the way in which the relation is the basis of our practical perceptual orientation. It is then shown how this relation actually pervades Merleau-Ponty’s own all-important ‘hyper-reflective’ alternative – the notion of ‘Flesh’. Possible counter-arguments are considered and refuted. The.. (shrink)

‘Liberty’, as a word, is thrown about contemporary society as casually as a ball is on a summer’s day, and yet, does anyone have a grasp on what it is? If it is freedom from limitation, then liberty must represent nothing less than consciousness without restraint. But though this straightforward definition implies its acquisition to be equally straightforward, the full spectrum of liberty would certainly prove to be one of the most elusive concepts imaginable. As a result, what we have, (...) and what we throw about so indifferently, is a Substitute - a poor kind of replica of the real thing. True liberty - Omniversal liberty - is much less tangible however, and represents the equilibrium that occurs when anything is possible, but where the capacity to ever allow one possibility to dominate over another becomes impossible to maintain. (shrink)

Life is a battlefield onto which we are thrown at birth, with only fate and fortune settling upon where we land. Wherever we land, whether it's on the front lines or surrounded by a network of defenses, we are all asking the same question: why are we here? The problem with this question, however, is that we tend to answer it from our own relative positions, and so we all arrive at different conclusions. The many answers we've created have filled (...) the field. They have become banners that are raised high so that we can see and follow them. These banners are always at risk of being toppled though; always at risk of losing their capacity for belief. But then, what if belief is more than a mere by-product of our universal search? What if belief can change the very fabric of this field? That is, what if truth is actually irrelevant, and the only real thing that makes up this battlefield is the belief, and consequently the collective will, which we invest in our answers? (shrink)

1 Introduction I don't know ... I don't belong to any group. ... I never was a socialist. I never was a communist. ... I never wanted anything of that kind. ...

Court D. Lewis, author of Repentance and the Right to Forgiveness, presents a rights-based theory of ethics grounded in eirenéism, a needs-based theory of rights (inspired by Nicholas Wolterstorff) that seeks peaceful flourishing for all moral agents. This approach creates a moral relationship between victims and wrongdoers such that wrongdoers owe victims compensatory obligations. However, one further result is that wrongdoers may be owed forgiveness by victims. This leads to the “repugnant implication” that victims may be wrongdoers who do (...) not forgive. Author Lewis addresses the “repugnant implication” by showing that victims are obligated to work toward forgiveness, if not forgiveness itself. Critic Gregory L. Bock argues that victims are not the only ones who can forgive, that the personal dimensions of forgiveness are overlooked, and that the force of the “repugnancy implication” may be questioned. Instead of rights-based eirenéism, Bock supports a virtue ethics framework. Instead of rights-based eirenéism, Bock encourages virtue ethics. Critic David Boersema raises questions about the binding nature of relationships, the dependency of flourishing upon forgiveness, and the nature of needs or rights. Boersema also questions the wisdom of a rights-based approach to forgiveness. Critic Jennifer Kling asks whether a rights-based approach is necessary to ground obligations to meet the needs of others: why not an ethics of care? If a rights-based approach is taken, perhaps a wrongdoer is obligated to not make forgiveness a life good. By disengaging this obligation, we avoid constraining a victim’s work toward forgiveness, especially when the wrongdoing is oppressive. Author Lewis responds to these objections. (shrink)

This book shows that art involves an aesthetics of self-becoming, wherein we do not simply consume artistic meaning, but become empowered--by adapting ourselves to what creation in the different art forms makes possible. Paul Crowther argues that the great political task in aesthetics is no longer the creation of political art as such, but rather the winning back of art and aesthetics as central societal concerns. This involves the overcoming of neo-liberal treatments of art as mere commodity and misguided (...) attitudes that dismiss it as the product of dead white European males. The book begins with a theory of self-consciousness which reveals the necessary role played by the aesthetic in personal identity. It then emphasises how art forms empower through processes of making and aesthetic effects that are unique to them individually. To show this, he considers the ontology of pictorial art, sculpture, installation and assemblage works, architecture, literature, cinema, and music. His arguments concerning these are supported, throughout, by in-depth discussions of specific artworks. The book's effect, overall is to reorientate aesthetics by showing how art empowers through its revelation of new possibilities of experience. The Aesthetics of Self-Becoming will appeal to philosophers of art and aesthetics, as well as scholars in art history, literary studies, film studies, and music theory who are interested in the book's central concerns. (shrink)

Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In his latest book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of (...) the pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium. Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment. (shrink)

There is a much‐discussed form of argument the conclusion of which is that we do not directly perceive space‐filling material objects themselves, only parts of their surfaces. Donald Davidson's view that events are temporal particulars invites a structurally similar argument about the direct perception of events. In this paper, I spell out such an argument and consider a number of possible solutions to it. I explore the idea that a satisfactory response to this problem in the philosophy of perception can (...) be grounded in a temporal ontology that includes temporal stuff as well as temporal particulars. I discuss different ways of developing this idea, and I go on to identify what I take to be the most promising version of an approach of this kind. (shrink)

This paper offers a phenomenology of the structure and scope of imagination's cognitive significance. It does so through discussing the unifying role of imagination in self-consciousness, and then the way in which this role is continued through the making of pictures in physical media such as drawing and painting. The study begins with discussion of four key features in terms of which imagination is often characterized. Particular emphasis is assigned to the quasi-sensory aspect. Part one then explains imagination as a (...) capacity subject to the will, whose exercise enables a 'blending'between the object imagined and the subjective style in which it is imagined. Through imagining, the imaginer comes to inhabit the object. Parts two and three explore this inhabiting in relation to memory and the imagining of possibility per se. Part four explains how picturing takes imaginative inhabiting to a level of completion. (shrink)

The Greek notion of beauty encompasses not only nature and artifice, but also the Good. This paper explains the connection by interpreting Plato in a way that allows his theory to be developed beyond the confines of his philosophy. It is argued that we could read his theory of beauty as based on fineness of appearance. This arises when a sensory particular transcends itself and suggests the presence of its sustaining Form, or when sophrosynē in human agency discloses the Good’s (...) power to transform the sensible world. In both cases, there is a pleasure in how certain phenomena or agents manifest the influence of the Forms at the sensory level. Beauty centres on an Ideal relation. By critically revising Plato’s position and taking it beyond the context of exegetical debate, a generally viable explanation of the grounds of Ideal beauty is formulated. This clarifies how such beauty is based on both the fundamental conditions of knowledge, as such, and our existence as free beings. Ideal beauty is shown, also, to be an aesthetic concept with enduring importance. (shrink)

Renowned as the chief challenger of traditional views of morality, man's freedom, and religion from 1650-1750, Benedict de Spinoza (1632-77) spread alarm and ...

Painting as an art: Wollheim and the subjective dimension -- Abstract art and transperceptual space: Wolheim, and beyond -- Truth in art: Heidegger against contextualism -- Space, place, and sculpture: Heidegger's pathways -- Vision in being: Merleau-Ponty and the depths of painting -- Subjectivity, the gaze, and the picture: developing Lacan -- Dimensions in time: Dufrenne's phenomenology of pictorial art -- Conclusion: a preface to post-analytic phenomenology.

This paper addresses the cognitive status of making pictures, rather than their informational function. Discussion centres on the structure of pictorial space. Space of this kind is constituted from the relation between pictorial content's modal plasticity (that is, its capacity to represent actualities, possibilities, and nomological and metaphysical impossibilities) and the formative role of planar structure and idioms of recessional organization. On the basis of this, it is argued that alternative creative realizations and aesthetic significance are inherent to the structure (...) of pictorial space itself qua pictorial. Such space is conceptually connected to the possibility of visual art. CiteULike Connotea Del.icio.us What's this? (shrink)

There is a much-discussed form of argument the conclusion of which is that we do not directly perceive space-filling material objects themselves, only parts of their surfaces. Donald Davidson's view that events are temporal particulars invites a structurally similar argument about the direct perception of events. In this paper, I spell out such an argument and consider a number of possible solutions to it. I explore the idea that a satisfactory response to this problem in the philosophy of perception can (...) be grounded in a temporal ontology that includes temporal stuff as well as temporal particulars. I discuss different ways of developing this idea, and I go on to identify what I take to be the most promising version of an approach of this kind. (shrink)

In this introduction to a special section on the philosophy of Bat-Ami Bar On, guest editor Court Lewis introduces Jennifer Kling’s article on equitable resettlement of refugees, Wim Laven’s article on meaningful political citizenship, and his own work on the analysis of the violent threat of citizen culture-warriors.

Quel lien y a-t-il entre le style, qui exprime un rapport au monde, et la théologie qui engage un rapport à Dieu ? Ce lien a été très fort dans le passé. À travers Augustin et le Pseudo-Denys, la pensée néoplatonicienne transmet au Moyen Âge le thème de la lumière intelligible. L’univers médiéval s’appréhende comme un cosmos transfiguré par la lumière de Dieu qui s’irradie sur toutes choses. Les Sommes théologiques baignent dans ce même symbolisme lumineux. Cependant, la pensée scolastique, (...) sous l’influence de l’aristotélisme, prend une orientation divergente : le réalisme tend à séculariser la nature ; la clarté ne vient plus d'en haut, mais d'en bas, de l’objet : l’esthétique se détache du discours théologique, l'allégorie se libère du symbole en direction de l'imaginaire. Quel sens reconnaître à un tel cheminement marqué au sceau de notre modernité ? Un champ esthétique, devenu ainsi autonome, ne risque-t-il pas de se retrouver exclusivement voué aux jeux formels d’une fiction pure sur fond de néant de sens ? Non, car l'imaginaire exerce une « fonction métaphorique » et « ontologique » , qui ouvre vers un supplément de sens. Le style est une structure individualisante qui rend sensible, dans l’art, le jaillissement d'une vérité du monde qui se répète dans les diverses productions esthétiques d'une même aire culturelle. Un style peut donc être un « lieu théologique » porteur d'un certain rapport au sacré, au même titre que « trace séculière » de formes spirituelles les plus diverses. D’où l’éminente leçon de « L'art sacré » contemporain, attentif aux affinités, techniques et défis de la modernité et, partant, promis aux rencontres œcuméniques les plus enrichissantes.What connection is there between style that expresses a relationship with the world, and theology that engages a relationship with God ? This connection was very strong in the past. From Augustine and the Pseudo-Dionysius, Neoplatonic thought transmitted to the Middle Ages the theme of intelligible light. The medieval universe is understood as a cosmos transfigured by God’s light irradiating all things. Theological Summas bathe in the same luminous symbolism. Under Aristotelian influence, Scholastic thought, however, takes a divergent orientation : realism tends to secularize nature ; clarity does net come from on high, but below, from the object ; the aesthetic detaches itself from the theological discourse, allegory frees itself from the symbol in the direction of the imaginary. What meaning can be seen in such a path that is marked with the seal of our modernity ? Does not the aesthetic field, that has become autonomous, take the risk of finding itself exclusively dedicated to formal games of pure fiction on a background of meaninglessness ? No, for the imaginary exercises a « metaphorical » and « ontological » function that opens towards an increase of meaning. The style is a individualizing structure that renders sensitive, in art, the breaking out of a truth of the world that repeats itself in the diverse aesthetic productions of a same cultural space. A style can, therefore, be a « theological site » carrying a certain rapport to the sacred, and at the same time that « secular pathway » of the most diverse spiritual forms. From there comes the eminent lesson of contemporary « Sacred Art », attentive to the affinities, techniques, and challenges of modernity, and consequently, engaged to most enriching ecumenical encounters. (shrink)