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)

Descartes’s uncompromising rejection of the possibility of animal intelligence was among his most controversial theses. That rejection is based on (1) his commitment to the doctrine of animal automatism and (2) two tests that he takes to be sufficient indicators of thought (the action and language tests). Of these two tests, only the language test is truly definitive, and Descartes is firmly of the view that no animal could demonstrate the capacity to use signs to convey meaning in “all (...) the circumstances of life.” The topic is fascinating for forcing us to ponder what exactly reason is for Descartes and the role it plays in everyday life. This article explores the tensions in Descartes’s arguments produced by an over reliance on the analogy between animals and clocks, including the question of what to make of Descartes’s recognition of the need to posit representational and information-processing subsystems in the brain. (shrink)

A concatenation of forces surrounded the rise of the photographic to the center of contemporary art practice. During the sixties the author-function was seriously critiqued. Roland Barthes announced the death of the author in 1967, and Michel Foucault answered his own question, what is an author? deconstructively in 1969, replacing what William Wimsatt and Monroe Beardsley had already termed the intentional fallacy with a model of the cultural constructedness of all notions of creative agency. At the same time, notions of (...) automatism generated by psychoanalytic models of mind and dada and surrealist conceptions of artistic and literary practice joined forces with sixties anticanonical, postexpressionist notions of the artwork as the deskilled, mechanical product of a consumerist society whose forces yielded the fantasy of individual will. Meanwhile, also during the sixties, painters such as Andy Warhol and Robert Rauschenberg began to use found photographs very overtly either as part and parcel of the generative process of their work or inside their work along with other kinds of materials. And thus the medium-specific boundaries between the photographic and the painterly, just to take the two, began to crumble for good, though the art-school disciplines and museum departments dedicated to these two media continued to hold sway. (shrink)

Actions performed in a state of automatism are not subject to moral evaluation, while automatic actions often are. Is the asymmetry between automatistic and automatic agency justified? In order to answer this question we need a model or moral accountability that does justice to our intuitions about a range of modes of agency, both pathological and non-pathological. Our aim in this paper is to lay the foundations for such an account.

This is a book about the role that psychological impairment should play in a theory of criminal liability. Criminal guilt in the Anglo-American legal tradition requires both that the defendant committed some proscribed act and did so with intent, knowledge, or recklessness. The second requirement corresponds to the intuitive idea that people should not be punished for something they did not do 'on purpose' or if they 'did not realize what they were doing'. Unlike many works in this area, this (...) book addresses the automatism and insanity defences by examining the types of functional impairment that typical candidates for these defences actually suffer. What emerges is a much wider conceptual framework that allows us to understand the significance of psychological states and processes for the attribution of criminal responsibility in a manner that is logically coherent, morally defensible, and consistent with research in psychopathology. (shrink)

From surrealism’s beginnings around a Parisian séance table, it oscillated between the occult and the political. One of its key methods, automatism, provided access to both the esoteric and the exoteric: it took form in the mid-19th century as a spiritualist technique for communicating with the other side while, simultanously, this other side could address political issues as equal rights, de-colonisation and a utopian future with an authority coming from beyond the individual. By tracing the development of automatism, (...) the article shows how automatism in surrealism became a call for both a re-orientation of life and an institutional re-organisation by becoming a divination tool for a future community looking back to hermeticism to find a way forward. The article argues that not only can surrealism fruitfully be understood in the light of an occult revival in reaction to crises but, additionally, that it marks the return of and a reaction to a kind of magical thinking in the modern – due to waning religious and socio-economic orthodoxies – that echoes eerily into our own big data contemporary of social medias where we tend to substitute equations with associations. (shrink)

In Part V of his Discourse on the Method, Descartes introduces a test for distinguishing people from machines that is similar to the one proposed much later by Alan Turing. The Cartesian test combines two distinct elements that Keith Gunderson has labeled the language test and the action test. Though traditional interpretation holds that the action test attempts to determine whether an agent is acting upon principles, I argue that the action test is best understood as a test of common (...) sense. I also maintain that this interpretation yields a stronger test than Turing's, and that contemporary artificial intelligence should consider using it as a guide for future research. (shrink)

How might philosophers and art historians make the best use of one another's research? That, in nuce, is what this special issue considers with respect to questions concerning the nature of photography as an artistic medium; and that is what my essay addresses with respect to a specific case: the dialogue, or lack thereof, between the work of the philosopher Stanley Cavell and the art historian-critic Rosalind Krauss. It focuses on Krauss's late appeal to Cavell's notion of automatism to (...) argue that artists now have to invent their own medium, both to provide criteria against which to judge artistic success or failure and to insulate serious art from the vacuous generalization of the aesthetic in a media-saturated culture at large.1 Much in the spirit of ‘Avant-Garde and Kitsch’, paying attention to the medium is once again an artist's best line of defence against the encroachment of new media, the culture industry, and spectacle. That Krauss should appeal to Cavell at all, let alone in such a Greenbergian frame of mind, is surprising if one is familiar with the fraught history of debate about artistic media in art theory since Greenberg. Cavell's work in this domain has always been closely associated with that of Michael Fried, and the mutual estrangement of Fried and Krauss, who began their critical careers as two of Greenberg's leading followers, is legendary.2I have written about the close connection between Fried's and Cavell's conceptions of an artistic medium before.3 Whereas Fried's and Cavell's early conception of an artistic medium was in a sense collaborative, emerging from an ongoing exchange of ideas at Harvard in the latter half of the 1960s, Krauss's much later appeal to the ideas of automatism and the automatic underpinning Cavell's conception of the photographic substrate of film from the early 1970s is not. In what follows, I try to clarify both the grounds of this appeal and its upshot. Does Krauss's account shed new light on Cavell's, or is she trying to press his terms into service for which they are ill-served? Both could of course be true, the former as a consequence of the latter perhaps. Conversely, do the art historical and philosophical accounts pass one another by? Note that even if the latter were true, its explanation might still prove instructive in the context of an interdisciplinary volume seeking to bring art historians and philosophers into dialogue around the themes of agency and automatism, which is precisely what Krauss's appeal to Cavell turns on. (shrink)

The philosophy and theory of film began with the skeptical question of whether film could be an art, given the mechanical way its moving pictures were produced. Theorists such as Noël Carroll and Victor Perkins have persuasively argued that the legacy of its defensive beginnings continues to compromise both philosophy and theory of film. This chapter seeks to contribute to an ongoing collective effort to overcome the effects of this legacy. It focuses on two films that invite comparisons not to (...) painting or theater but to dance—Powell and Pressburger’s The Red Shoes and The Tales of Hoffmann. It argues that the right kind of attention to these films sheds new light on both what film is and how it is related to the other arts. (shrink)

Stanley Cavell's The World Viewed was the first book on cinema to attempt to provide an ontological theorisation of film that could account not only for its popular instances and the reason why they enthralled audiences for over half a century but also for the demise of its mythic function and the possibility of its redemption in serious modernist film. Inadequately understood at the time of its publication, and for too long ignored by Film Studies, Cavell's arguments about modernist cinema (...) all but disappeared in the wake of the rise of postmodern theory. Yet the crisis of belief that confronted modern arts, condemned them to the production of serious works, and eventually unsettled the privileged place of mainstream cinema in twentieth century liberal democracies, still laps at our feet. This essay follows on the back of Kathleen Kelley's recent essay on Cavell, Greenberg, Bazin and medium specificity in film and Robert Sinnerbrink's work aligning Cavell’s understanding of cinema as 'a moving image of skepticism' with the project of thinking philosophically about film. It aims to continue to unpack the idea of automatism as it is conceived by Cavell to operate in film and to argue, along with Kelley and Sinnerbrink, for its importance for understanding the conviction of serious films. (shrink)

This essay presents the experimental subject as a figure of modernity. It addresses notions of control, sensory thresholds, automatism, and human agency through a study of experimental psychology and psychological apparatus from the late 19th century to the First World War, juxtaposing this with notions of experimentation in early 20th-century avant-garde movements. The human subject of experimental psychology, defined by its inexpression as it awaits the stimuli of testing and measurement, is treated as a prototype for the present-day user (...) of technological interfaces. (shrink)

This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and (...) condensation, and object relations theory, this article offers an interpretation of some of the kinds of psychic interactions offered in animated film through traces of the Rotoscope’s production history found in the device’s patent drawings, its patent embodiments, and its published family legend. It is proposed that the device was the locus of a collective fraternal performance, serving as a shared ground for an array of condensations and displacements and enactments of repetition compulsion among the multiple bodies engaged in the production of the device, as well as among the multiple animated and live-action film bodies that crossed its production screens and patent pages. One objective of this article is to shift the interpretive and analytic focus in film studies from the filmstrip and the projected screen image to the relationship between bodies and technologies in the experience of making films, and making the filmic apparatus. A secondary objective of this article is to suggest that the approach to bodily movement embedded in the design of the Rotoscope was hardly normative. The device offered a means to stretch and distort both norms and stereotypes of human expression through movement. The rotoscoped body sometimes performed in ways that pushed the limits of viewer expectations about how a given body will, or should, move, in space or across the screen. (shrink)

This is a book about the role that psychological impairment should play in a theory of criminal liability. Criminal guilt in the Anglo-American legal tradition requires both that the defendant committed some proscribed act and did so with intent, knowledge, or recklessness. The second requirement corresponds to the intuitive idea that people should not be punished for something they did not do 'on purpose' or if they 'did not realize what they were doing'. Unlike many works in this area, this (...) book addresses the automatism and insanity defences by examining the types of functional impairment that typical candidates for these defences actually suffer. What emerges is a much wider conceptual framework that allows us to understand the significance of psychological states and processes for the attribution of criminal responsibility in a manner that is logically coherent, morally defensible, and consistent with research in psychopathology. (shrink)

Culture has always led a problematic existence. As a result, the diagnosis and treatment of various cultural diseases continue to depend on the embarrassing double identity of culture as both patient and doctor, hence making it difficult for culture to explore its own obscure recesses. The question of whether culture is autonomous and can be itself in its own way should therefore be considered theoretically. Since culture is closely associated with civilization, real culture must be generated from the florescence of (...) a civilization based on a logic of human integrity within a certain historical period of time. In order to illuminate and adhere to this cultural attribute, some cultural truths must be made clear by establishing and maintaining public order and good customs from a properly lofty spiritual view. We must prudently and critically inquire after the ideological promise of culture regarding reasonable existence and the evolution of humans, and present an ideal prophecy in line with the human demand for a good life so as to assure culture’s healthy, benign, and sustainable advancement and stable performance of its function of molding graceful, noble, and tasteful means of life. (shrink)

Merleau-Ponty’s explication of concrete or practical movement by way of the Schneider case could be read as ending up close to automatism, neglecting its flexibility and plasticity in the face of obstacles. It can be contended that he already goes off course in his explication of Schneider’s condition. Rasmus Jensen has argued that he assimilates a normal person’s motor intentionality to the patient’s, thereby generating a vacuity problem. I argue that Schneider’s difficulties with certain movements point to a means (...) of broadening Merleau-Ponty’s account of concrete movement, one that he broaches without exploiting. What could do more work is his recognition of a transposition capacity - and hence of a plasticity - in the healthy body’s skill schema. As well as avoiding vacuity, he could forestall the appearance of a dichotomy between practical coping and creativity. (shrink)

The photographic apparatus whose emergence is located in the mid-nineteenth century has not been perfectly located within the history of technology, sometimes considered as a simple tool or instrument whose utility was mainly in the field of scientific research, other times giving it the status of machine, accentuating this time the automatism of its operation. Both visions seem insufficient to us since both one and the other present a certain partiality in the understanding of the apparatus, which should not (...) be reduced to its mere optical character or to its automatism, since this is also a form of recording, of memory. Our interest will focus on demonstrating how photography should be thought of as “apparatus”, that is, as a complex element within the history of technology; that not only was able to perfect our vision considered as deficient, but at the same time was able to grant a new temporality and a specific type of perception to an entire era. (shrink)

The photographic apparatus whose emergence is located in the mid-nineteenth century has not been perfectly located within the history of technology, sometimes considered as a simple tool or instrument whose utility was mainly in the field of scientific research, other times giving it the status of machine, accentuating this time the automatism of its operation. Both visions seem insufficient to us since both one and the other present a certain partiality in the understanding of the apparatus, which should not (...) be reduced to its mere optical character or to its automatism, since this is also a form of recording, of memory. Our interest will focus on demonstrating how photography should be thought of as “apparatus”, that is, as a complex element within the history of technology; that not only was able to perfect our vision considered as deficient, but at the same time was able to grant a new temporality and a specific type of perception to an entire era. (shrink)

The experience of conscious will is the feeling that we are doing things. This feeling occurs for many things we do, conveying to us again and again the sense that we consciously cause our actions. But the feeling may not be a true reading of what is happening in our minds, brains, and bodies as our actions are produced. The feeling of conscious will can be fooled. This happens in clinical disorders such as alien hand syndrome, dissociative identity disorder, and (...) schizophrenic auditory hallucinations. And in people without disorders, phenomena such as hypnosis, automatic writing, Ouija board spelling, water dowsing, facilitated communication, speaking in tongues, spirit possession, and trance channeling also illustrate anomalies of will – cases when actions occur without will or will occurs without action. This book brings these cases together with research evidence from laboratories in psychology to explore a theory of apparent mental causation. According to this theory, when a thought appears in consciousness just prior to an action, is consistent with the action, and appears exclusive of salient alternative causes of the action, we experience conscious will and ascribe authorship to ourselves for the action. Experiences of conscious will thus arise from processes whereby the mind interprets itself – not from processes whereby mind creates action. Conscious will, in this view, is an indication that we think we have caused an action, not a revelation of the causal sequence by which the action was produced. Key Words: apparent mental causation; automatism; conscious will; determinism; free will; perceived control. (shrink)

Paul C. Johnson begins his new work, Automatic Religion, with the observation that two of the capacities commonly taken to distinguish humans from nonhumans-free will and religion-are fundamentally opposed. Free will enjoys a central place in our ideas of spontaneity, authorship, and the conscious weighing of alternatives. Meanwhile, religion is less a quest for agency than a series of practices--possession rituals being the most spectacular though by no means the only examples--that temporarily relieve individuals of their will. What, then, is (...) agency and why has it occupied such a central place in theories of the human? Based on a dozen years of archival and ethnographic research in Brazil and France, this book tests the boundaries between humans and non-humans in an unlikely series of episodes from the closing decades of the nineteenth century, when ideas related to automatism lurched into motion on multiple tracks and, not incidentally, "religion" as a topic of study was being born. Brazil provided a particularly fertile place for reflection as the nearest site of what Europeans and Euro-Americans too often, too naïvely, and too imperially saw as raw nature, and thus also a laboratory of the human. In this context, the French would call Brazil's people monkeys; its slaves were called automatons; and Afro-Brazilian spirit possession priests were classed in the terms of French psychiatry's newly minted terms, dissociation and hysteria. Johnson shows not just how automatons can take on unexpectedly human-like lives when animated but also traces how certain groups have been excluded as less-than-human. In so doing, Johnson reanimates one of the most mysterious and yet foundational questions of trans-Atlantic thought-what is agency? (shrink)

The Cartesian view that animals are automata sparked a major controversy in early modern European philosophy. This paper studies an early contribution to this controversy. I provide an interpretation of an influential objection to Cartesian animal automatism raised by Ignace-Gaston Pardies (1636–1673). Pardies objects that the Cartesian arguments show only that animals lack ‘intellectual perception’ but do not show that animals lack ‘sensible perception.’ According to Pardies, the difference between these two types of perception is that the former is (...) reflexive such that we both perceive an object and the perception itself, whereas sensible perception lacks this reflexivity. This notion of sensible perception was criticized by the Cartesian Antoine Dilly for violating the doctrine that all thought is conscious. However, I argue that sensible perceptions are not unconscious for Pardies. Rather, they are conscious perceptions that are unaccompanied by a kind of reflexive perception that is constitutive of attention. Moreover, I argue that when understood in this way Pardies raises a compelling objection to Cartesian animal automatists. (shrink)

Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then (...) offers the fuller account of agency lacking in such discussions. But fine art is not the only value classification we use. (shrink)