_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)

With his contribution on "The Natural Law in the American Tradition," Judge Diarmuid O'Scannlain has begun the indispensable task of laying the groundwork for sound jurisprudential reasoning in the natural law tradition. It is on the basis of this groundwork that we can begin to appreciate what natural law reasoning might mean, and what it does not mean, for contemporary American legal thinking. More specifically, it is on the basis of this groundwork that one can begin to articulate what (...) might be called a "third way" of jurisprudential reasoning. This "third way" would steer clear of two opposed and equally problematic jurisprudential views; that is, it would steer clear of what we might call "standard legal positivism" (on the one hand), and (on the other hand) what Judge O'Scannlain calls the "aggressive" natural law jurisprudence of some contemporary theorists. (shrink)

This chapter examines the early insular history of Bede's Chronica Maiora in a universal context. It considers Bede's treatment of salvation history in the Chronica Maiora's account of the archipelago in the era of the Roman conquest and the barbarian invasions, viewed within the context of contemporary world history. The chapter explains that the Chronica Maiora is located in Bede's magisterial survey of divine and human time and traces the providential unfolding of universal history through the six ages of this (...) world. (shrink)

Discursive accounts of the body have been prominent recently. While acknowledging the usefulness of these, the author, drawing upon specific philosophers of the body and a wide range of other theorists, focuses attention on the experiencing body which she refers to as 'creatural existence’. Thinking in terms of the creatural, she argues, can better situate human beings in their environment, thus emphasizing a kind of 'ecological notion of subjectivity’, in which place-based existence is understood anew. The educational implications of focusing (...) on what bodies 'do' and not so much in terms of how they are socially inscribed, presents them as practico-sensory totalities which should perhaps be seen as systems rather than an as mere organisms or entities. Such an articulation of creatural existence emphasizes animality, and in so doing reminds us of the centrality of the senses in all knowing and doing, including crucially, in relation to those practices which we have understood as 'work'. Multi-sensorial education is a major sub-theme of the book and the author argues persuasively for this by means of a critical analysis of the ocularcentrism that is characteristic of contemporary culture. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In _On Photography: A Philosophical Inquiry_ Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through nineteenth-century debates about its standing as art, to twentieth-century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, _On Photography: A Philosophical Inquiry_ is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

Moral theory has generally focused on resolving ethical dilemmas by identifying ethically sound options. Whether the focus is on consequences, duties, principles or virtues, ethical cases are often approached in ways that assume morally sound solutions can be found and followed. Such ‘ideal morality’ assumes that moral goodness is always possible, leaving people confident they have done the right thing. Such an approach becomes inadequate in disaster settings where any good solution is often difficult to see. This paper examines recent (...) work on nonideal moral theory as a useful model for disaster bioethics. This approach views moral dilemmas as situations where no choice is ideal and every option involves some element of unavoidable wrongdoing. Rather than straining for ideal answers, this approach acknowledges that sometimes the lesser of two evils is the best that can be done. Such situations inevitably lead to feelings of regret or guilt, commonly encountered in discussions of disaster bioethics. This paper explores the practical implications of nonideal approaches for disaster responders working in tragic situations. (shrink)

Two centuries after they were published, Kant's ethical writings are as much admired and imitated as they have ever been, yet serious and long-standing accusations of internal incoherence remain unresolved. Onora O'Neill traces the alleged incoherences to attempts to assimilate Kant's ethical writings to modern conceptions of rationality, action and rights. When the temptation to assimilate is resisted, a strikingly different and more cohesive account of reason and morality emerges. Kant offers a "constructivist" vindication of reason and a moral vision (...) in which obligations are prior to rights and in which justice and virtue are linked. O'Neill begins by reconsidering Kant's conceptions of philosophical method, reason, freedom, autonomy and action. She then moves on to the more familiar terrain of interpretation of the Categorical Imperative, while in the last section she emphasizes differences between Kant's ethics and recent "Kantian" ethics, including the work of John Rawls and other contemporary liberal political philosophers. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. New theory (...) emerges as a response to skeptical orthodoxy in particular. I divide new theory in turn between “restrictive” and “permissive” responses to skeptical orthodoxy and raise challenges for both. The restrictive version arguably divides what does and does not count as strictly photographic in arbitrary ways; the permissive version rules in images that are not obviously photographs and faces two difficulties individuating photographs. I conclude by noting several questions that need to be addressed before new theory clearly has the upper hand over orthodoxy. These concern its ability to account for photography's epistemic capacities, the extent to which it constitutes an advance over “nonskeptical” orthodoxy, and whether new theorists have yet to be new enough when it comes to photographic agency. (shrink)

Two centuries after they were published, Kant's ethical writings are as much admired and imitated as they have ever been, yet serious and long-standing accusations of internal incoherence remain unresolved. Onora O'Neill traces the alleged incoherences to attempt to assimilate Kant's ethical writings to modern conceptions of rationality, action and rights. When the temptation to assimilate is resisted, a strikingly different and more cohesive account of reason and morality emerges. Kant offers a `constructivist' vindication of reason and a moral vision (...) in which obligations are prior to rights and in which justice and virtue are linked. O'Neill begins by reconsidering Kant's conceptions of philosophical method, reason, freedom, automony and action. She then moves on to the more familiar terrain of interpretation of the Categorical Imperative, while in the last section she emphasises differences between Kant's ethics and recent 'Kantian' ethics, including the work of John Rawls and other contemporary liberal political philosophers. This reassessment will add significantly to the understanding of Kantian practical philosophy. (shrink)

This article presents normative information for the Defining Issue Test Version 2 (DIT2) schema scores and most common summary scores based on secondary data from the last 10 years DIT2 database (N = 73740, Mage = 23.11, SD = 7.87, the age range in year = 12–95) maintained by the University of Alabama’s Center for the Study of Ethical Development from 2011 to 2020. More specifically, the study provides (1) norms by education; (2) norms by gender and education; and (3) (...) norms by gender and age for the DIT2. The norms indicate a general but not consistent trend that moral reasoning scores increase by education level. Additionally, the Personal Interest and Maintain Norms scores are higher for males than females for all education levels and age groups while Postconventional, N2, and Type indicator scores are higher for females than males for all education levels and age groups. (shrink)

A good deal of attention has been given in recent philosophy of religion to the question of whether we can sensibly attribute to God a form of knowledge which the 16th-century Jesuit theologian Luis de Molina termed "middle knowledge". Interest in the doctrine has been spurred by a recognition of its intimate connection to certain conceptions of providence, prophecy, and response to petitionary prayer. According to defenders of the doctrine, which I will call "Molinism", the objects of middle knowledge are (...) all the true counterfactuals of the form, 'If C were to occur, then S would freely do A', where C specifies a particular set of circumstances. (Such propositions are usually referred to as "counterfactuals of freedom" - hereafter "CFs".)' I will try to assess the current status of two distinct questions: (1) Are there true CFs? and (2) Could God know true CFs if there are any? Obviously, Molinism must answer both questions affirmatively. Most of the discussion has focused on the first question. I hope to show that this approach has been a dialectical mistake on the part of critics of Molinism, for the difficulties of giving an affirmative answer to question (2) are, I believe, far easier to state clearly and convincingly. (shrink)

While most business ethics texts focus exclusively on individual decision making--what should an individual do--this resource presents the whole business ethics story. Highly realistic, readable, and down-to-earth, it moves from the individual to the managerial to the organizational level, focusing on business ethics in an organizational context to promote an understanding of complex influences on behavior. The new Fifth Edition is the perfect text for students entering the workplace, those seeking to become professionals in training, communications, compliance, in addition to (...) chief ethics officers, corporate counsel, heads of human resources, and senior executives. (shrink)

The phenomenon of action in which the mind moves the body has puzzled philosophers over the centuries. In this new edition of a classic work of analytical philosophy, Brian O'Shaughnessy investigates bodily action and attempts to resolve some of the main problems. His expanded and updated discussion examines the scope of the will and the conditions in which it makes contact with the body, and investigates the epistemology of the body. He sheds light upon the strangely intimate relation of awareness (...) in which we stand to our own bodies, doing so partly through appeal to the concept of the body-image. The result is a new and strengthened emphasis on the vitally important function of the bodily will as a transparently intelligible bridge between mind and body, and the proposal of a dual aspect theory of the will. (shrink)

1 The Platonic and Christian Ulysses JEAN PEPIN i PHILOSOPHOS ODYSSEUS1 Several philosophical schools in antiquity made use of the figure of Ulysses. ...

This paper considers whether Kant’s aesthetics withstands the challenge of Conceptual Art. I begin by looking at two competing views of Conceptual Art by recent philosophers, before settling on an ‘inclusive’ view of the form: Conceptual Art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is (...) meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to Conceptual Art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively. (shrink)

The Language Dynamic identifies a number of mechanisms that enable the meaning potential of language from the phoneme through grammar and discourse and onto ideological systems. This book, which underpins functional theories of language with concepts from biological and cultural evolution, social semiotics and systems theory, is relevant to all who are interested in how and why we can mean and what it means for us as humans to be semiotic agents.

Medicine is about caring for people. It is a moral enterprise, not simply a technique or a pursuit. Though modern healthcare offers an amazing array of options, it has also become a complex and sometimes utterly de-humanizing system. Now, more than ever, we need guidance to navigate through the issues surrounding our medical care. Advances in medical technology have blessed many with longer and healthier lives, but they have also provided us with interventions and procedures that call for serious ethical (...) evaluation. The BioBasics series is committed to an uncompromising respect for human life that will serve as a compass through a maze of challenging questions. (shrink)

This volume is a collection of 16 essays, old and new, relating history and exegesis in the writings of Bede and Adomnán, and in the lives of Thomas Becket. The first part consists of seven studies of Bede's writings, notably his biblical commentaries and his Ecclesiastical History. Two of the essays are published here for the first time. The five studies in the second part, devoted to Adomnán, discuss his life of Saint Columba (the Vita Columbae) and his guide to (...) the Holy Places (De locis sanctis). One essay ('The Bible as Map'), published posthumously, compares his presentation of a major theme, the earthly and heavenly Jerusalem, with the approach adopted by Bede. The third section consists of two essays on the lives of Thomas Becket that were composed shortly after his death. They examine, in the context of patristic exegesis, the biblical images invoked in the texts in order to show how the saint's biographers understood the complex relationship between hagiography and history. With the exception of the Jarrow Lecture on Bede and the essays on Becket, the studies in both parts were published originally in edited books, some of them now hard to come by. (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

Famous for their enigmatic ambiguity, the fragmentary texts of the Presocratic philosopher Heraclitus have puzzled and fascinated readers for over two millennia ...

The strongest version of the principle of the Identity of Indiscernibles states that of necessity, there are no distinct things with all their universals in common (where such putative haecceities as being Aristotle do not count as universals: I use 'universal' rather than 'property' here and in what follows for the simple reason that 'universal' is the term of art that most safely excludes haecceities from its instances). It is commonly supposed that Max Black's famous paper 'The identity of indiscernibles' (...) (2) refutes this thesis. (Armstong's [1], chapter 9 is representative here.) Black argues ([2], p. 156) that it is perfectly possible that there be a world consisting solely of two indiscernible spheres at some distance to each other and that this world constitutes a counterexample to the principle above. The strongest version of the bundle theory of substance claims that of necessity, the substances that make up the world are bundles of universals.1 It is commonly supposed that a consequence of Black's defeat of the principle of the Identity of Indiscernibles is that this bundle theory of substance is mistaken. (Again, Armstong's [1] is representative.) I shall argue that Black's thought experiment does not defeat the bundle theory and that, as a result, the bundle theory can be used to salvage the principle of the Identity of Indiscernibles. (shrink)

This chapter contains sections titled: Danto and Kant Recent Danto on Kant's Aesthetics Late Danto's “Aesthetic Turn”? Danto on Works of Art as “Embodied Meanings” Danto on Metaphor Metaphor in Kant Kant on Aesthetic Ideas Aesthetic Ideas, a Contemporary Example.

The twelve specially written essays in this volume investigate the neglected topic of mental action, and show its importance for the metaphysics, epistemology, and phenomenology of mind. The essays investigate what mental actions are, how we are aware of them, and what is the relationship between mental and physical action.