The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an introductory chapter (...) which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains. (shrink)

Sustaining Loss explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the work (...) of art is the haunting of the present by the endless suffering of what is dead but still has claims over the living. Sustaining Loss examines not only Kant, Hegel, and Freud, but also the contemporary artists Gerhard Richter and Ilya Kabakov, whose art turns fruitfully against art's own past. (shrink)

_Sustaining Loss_ explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the work (...) of art is the haunting of the present by the endless suffering of what is dead but still has claims over the living. The book asserts that modern aesthetics holds the key to unlocking the tortured relation of modernity to the past it is perpetually leaving behind. As the capacity to withstand the inescapable force of a past that is dead for us becomes the supreme test for a fully modern, fully secular philosophy, aesthetics moves to the center of philosophical reflection. But, the author argues, this secular philosophical orientation can be sustained only if aesthetic theory remains oriented by intimate contact with modernist works of art. _Sustaining Loss_ examines not only Kant, Hegel, and Freud, but also the contemporary artists Gerhard Richter and Ilya Kabakov, whose art turns fruitfully against art's own past. To live as a modern, the author asserts, is to live with the dead past that modernist art ceaselessly disgorges. Overall, the book aims to articulate an aesthetic theory suitable to the task of living in a time when, in Flannery O'Connor's words, "The blind don't see and the lame don't walk, and what's dead stays that way.". (shrink)

The concept of trauma has recently expanded its reach to include what otherwise might be understood as intimate experience. This overextension represents a threat to our ability to conceptualize intimate experiences, hence to use concepts to engage in intimate communication. An analysis of Wallace Stevens’s poem “The Auroras of Autumn”, demonstrates how poetry provides a supplemental vehicle for the communication of intimate experiences. Poetry is therefore characterized as an essential element in ethical life.

Having accepted the invitation to write a regular column about art from Elizabeth Pochoda, then the literary editor of The Nation magazine, Arthur Danto wrote a lot of criticism. Danto wrests himself free of the history of art criticism when, in writing about recent predecessors, he claims that their critical approaches must be understood as artifacts of their historical time. The lack of an autonomous history of art criticism, one that would make current practice intelligible in terms of its own (...) history, should puzzle us. Many other genres of criticism plainly have histories that shape their current practice in terms both of subject and method. The value of Danto's essay as criticism is exhausted in its relation to the moment of the art world in which it participated. (shrink)

This essay examines mimetic pictures and the forms of subjectivity encoded in them. Mimetic pictures are representations which are unique in looking like the objects or events they depict. However, the objects or events typically have properties which are incompatible with those of the picture considered as a material artifact. Thus, if a mimetic picture looks like what it depicts, it does not look like what, considered as an artifact, it is. Since seeing a mimetic picture as a picture is (...) seeing what it looks like, it seems to follow that seeing a mimetic picture entails not seeing its material properties. But this is a paradox: it suggests that looking at mimetic pictures means not seeing what is being looked at. My aim is to resolve this paradox. ;This goal is pursued by exploring the forms of subjectivity historically attributed to the spectator of mimetic pictures. Three theorists are examined: Leon Battista Alberti, John Locke, and E. H. Gombrich. While their positions are tied to the forms of pictorial practice central to their respective historical contexts, they share a common attitude toward the paradox of pictoriality: they explain mimetic appearance as an illusion produced in the seeing subject by the picture. This commonality suggests a consistent attitude toward pictorial appearance from the Renaissance to the present; I analyze this attitude, arguing that the concept of illusion, rather than helping us grasp the forms of subjectivity encoded in pictures, obscures it. ;The essay concludes by proposing that cultures of mimesis produce a complex visual activity of recognition and disavowal which I call "fascination". I defend the thesis that mimetic pictures do not induce illusions but are displays in which the social dynamic of illusion is witnessed. This thesis is combined with Lacan's theory of the gaze to redefine mimetic pictures as theatrical entities exhibiting the social interaction of desire and visual appearance. As theatrical, pictures elicit a mode of reflective subjectivity rather than deceiving a pre-reflective spectator. This thesis resolves the paradox of mimetic pictures by analyzing their apparent possession of incompatible properties as a sign that pictures are artifacts in which the social and relational nature of appearance itself can be seen. (shrink)

The Meaning Circuit Hypothesis (MCH) is a synthesis of ideas providing John Wheeler’s outline of ultimate physics, which he fine-tuned over several decades from the 1970s onward. It is a ‘working hypothesis’ in which ‘existence is a ‘meaning circuit”’ that portrays the world as a “system self-synthesized by quantum networking.” It was strongly advocated by him for roughly two decades and since then has had an increasingly strong impact on the approach of many investigators of quantum theory; in particular, elements (...) such as the quantum participator and ‘it from bit’ are now considered by others as candidate components of a foundation for quantum theory in which information is involved essentially. Therefore, it is worthy of review and critique. (shrink)

This monograph identifies the essential characteristics of the objects described by current quantum theory and considers their relationship to space-time. In the process, it explicates the senses in which quantum objects may be consistently considered to have parts of which they may be composed or into which they may be decomposed. The book also demonstrates the degree to which reduction is possible in quantum mechanics, showing it to be related to the objective indefiniteness of quantum properties and the strong non-local (...) correlations that can occur between the physical quantities of quantum subsystems. Careful attention is paid to the relationships among such property correlations, physical causation, probability, and symmetry in quantum theory. In this way, the text identifies and clarifies the conceptual grounds underlying the unique nature of many quantum phenomena. (shrink)

This book presents a collection of novel contributions and reviews by renowned researchers in the foundations of quantum physics, quantum optics, and neutron physics. It is published in honor of Michael Horne, whose exceptionally clear and groundbreaking work in the foundations of quantum mechanics and interferometry, both of photons and of neutrons, has provided penetrating insight into the implications of modern physics for our understanding of the physical world. He is perhaps best known for the Clauser-Horne-Shimony-Holt (CHSH) inequality. This collection (...) includes an oral history of Michael Horne's contributions to the foundations of physics and his connections to other eminent figures in the history of the subject, among them Clifford Shull and Abner Shimony. Among the editors and contributors are John Clauser and Anton Zeilinger, recipients of the Nobel Prize in Physics 2022. (shrink)

This book argues that when visual jokes are harmful, they harm in a specific way: a subject’s personhood is revoked in a way that differs both in kind and degree depending on whether that person is depicted or described. Such revocation can occur in every role and any stage within the joke’s context, from character to audience member, from moment of depiction to uncritical exposure. Unlike a mere unhumorous insult, which doesn’t require the sympathy of its audience but can operate (...) solely between the target and the bully, a joke requires a particular kind of response from its audience to complete itself—to “deliver”, which requires not only some degree of complicity from audience members, but a complicity earned at the expense of the joke’s referent. This book shows how we need not prevent the occurrence of these things in order to undermine their oppressive power—we only need the right kind of recontextualization: turning those utterances into jokes or turning those jokes against themselves. Unlike other forms of visual oppression, the harms contained within visual jokes can be reconfigured to affirm those they were created to harm, changing their function from jokes which attack others to jokes which attack themselves, empowering those they were created to target by calling into question the problematic conceptions of audiences who are sympathetic to the harmful joke’s initial formulation. (shrink)

Kerekh 1. Toldot ha-adam, as̀arah maʼamarot.

Please find below the Bibliography in PDF format for Who's Afraid of Deleuze and Guattari? Whors"s Afraid of Del.

What place does consciousness have in the natural world? If we reject materialism, could there be a credible alternative? In one classic example, philosophers ask whether we can ever know what is it is like for bats to sense the world using sonar. It seems obvious to many that any amount of information about a bat's physical structure and information processing leaves us guessing about the central questions concerning the character of its experience. A Place for Consciousness begins with reflections (...) on the existence of this gap. Is it just a psychological shortcoming in our merely human understanding of the physical world? Is it a trivial consequence of the simple fact that we just cannot be bats? Or does it mean there really are facts about consciousness over and above the physical facts? If so, what does consciousness do? Why does it exist? Rosenberg sorts out these problems, especially those centering on the causal role of consciousness. He introduces a new paradigm called Liberal Naturalism for thinking about what causation is, about the natural world, and about how to create a detailed model to go along with the new paradigm. Arguing that experience is part of the categorical foundations of causality, he shows that within this new paradigm there is a place for something essentially like consciousness in all its traditional mysterious respects. A striking feature of Liberal Naturalism is that its central tenets are motivated independently of the mind-body problem, by analyzing causation itself. Because of this approach, when consciousness shows up in the picture it is not introduced in an ad hoc way, and its most puzzling features can be explained from first principles. Ultimately, Rosenberg's final solution gives consciousness a causally important role without supposing either that it is physical or that it interacts with the physical. (shrink)

Within the overarching framework of considering the purpose of education, this book addresses issues such as the standards movement, high-stakes testing and accountability, and corporate education reform. It raises ethical questions related to school practices and considers the question of who should decide the purpose of education.

As a scientist, philosopher and scholar in Jewish thought, Yeshayahu Leibowitz was one of the most noteworthy Jewish thinkers in the twentieth century. He was endowed with an remarkable intellect and was knowledgeable across a variety of fields. Born in Riga (Latvia) in 1903 he later immigrated to Israel, where he taught Organic chemistry, biochemistry, neurology, biology, neurophysiology, philosophy and Jewish thought at Haifa and Jerusalem University. He was chief editor of the Hebrew encyclopedia, where he wrote about scientific, philosophical, (...) historical and religious topics. Leibowitz was an orthodox Jew but rejected the notion of divine intervention in nature or history. So what was actually Leibowitz' belief? This is what this book is about. (shrink)