Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: How do paintings depict? and how do they express feelings? In this collection of new essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of (...) art. Among the themes under discussion are Wollheim's explanation of pictorial representation in terms of seeing-in, his views of artistic expression as a type of complex projection, and his notion of the internal spectator. In the final essay Wollheim himself responds to the contributors. This book will be eagerly sought out by all serious students of the theory of art, whether in departments of philosophy or art history. (shrink)

Philosophers are increasingly coming to recognize the importance of Freudian theory for the understanding of the mind. The picture Freud presents of the mind's growth and organization holds implications not just for such perennial questions as the relation of mind and body, the nature of memory and personal identity, the interplay of cognitive and affective processes in reasoning and acting, but also for the very way in which these questions are conceived and an interpretation of the mind is sought. This (...) volume of essays, by some of today's leading philosophers, explores all these topics, as well as the methods, results and status of the theory itself, while two 'classical' discussions by Wittgenstein and Sartre are also included. A number of the contributions – those by Donald Davidson, W. D. Hart, Jim Hopkins, Adam Morton, David Pears and Richard Wollheim – have not been published before, and a very useful bibliography is provided. It is an anthology that will be vital to anyone interested in Freudian theory and, more generally, in philosophical psychology. (shrink)

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: how do paintings depict? And how do they express feelings? In this collection of essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. (...) Among the themes under discussion are Wollheim's explanation of pictorial representation in terms of seeing-in, his views of artistic expression as a type of complex projection, and his notion of the internal spectator. In the final essay Wollheim himself responds to the contributors. This book will be eagerly sought out by all serious students of the theory of art, whether in departments of philosophy or art history. (shrink)

The paper considers an argument of Richard Wollheim’s, originally presented in a 1976 symposium with Goodman and Wiggins, which disappeared when the symposium contribution was ‘reprinted’ in the supplementary essays to the expanded edition of Art and Its Objects (Wollheim, 1980). It lays out the argument’s original context, locating its objectives by means of a comparison with Goodman’s autographic/allographic distinction, with its attendant discussion of the ‘history of production’, and presents Wollheim’s defence of ‘the artist’s theory’. This defence (...) coheres in interesting ways with Wollheim’s aesthetics emphasis on the importance of the artist’s intention (suitably understood) as part of a specification of what the work itself is. This conception reinforces the importance Wollheim grants both to the fulfilled intentions of the artist and to a suitably positioned, suitably informed, and suitably sensitive spectator. Both should be modelled as operating under the aegis of the artist’s theory, a notion this ‘missing’ argument serves to emphasize. (shrink)

This chapter considers Arthur Danto's use of a particular thought experiment to support his theory of art and Richard Wollheim's discussion of it. It also considers a comparable thought experiment about conceptual issues in ethics. The chapter presents how some thought experiments in moral philosophy do and do not resemble Danto's gallery of indiscernibles. A. Surprisingly, in his own discussion of the permissibility of certain acts of killing and harming, Danto seems to have adopted a view (...) similar to the one Wollheim adopted about Danto's indiscernibles. Use of thought experiments in ethics is often unlike the use of thought experiments in Danto's work. The chapter explores how ethics employs thought experiments to determine permissibility of acts and whether thought experiments could comparably be used to determine the merit of artworks. (shrink)

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and (...) the part they play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

Distinguished philosopher Richard Wollheim's rich and thought-provoking account of the emotions considers what emotions are, how they arise in our lives, and how standard and "moral" emotions differ.

[Richard Wollheim] Any experiential view of pictorial meaning will assign to each painting an appropriate experience through which its mean can be recovered. When the meaning is representational, what is the nature of the appropriate experience? If there is agreement that the experience is to be described as seeing-in, disagreement breaks out about how seeing-in is to be understood. This paper challenges two recent interpretations: one in terms of perceived resemblance, the other in terms of imagining seeing. Neither view (...) gives a correct account of how the spectator distributes his attention between the marked surface and the represented object. /// [Robert Hopkins] I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, (...) individuals and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

This book brings together Wollheim's broad and abiding concerns to illuminate human thought at its furthest reaches of introspection and expression.

This manuscript examines argument engagement in close relationships. Two pilot studies were conducted to identify what factors naïve actors report matter to them when considering whether to engage in an interpersonal argument, and to develop and pre-test measurement scales for these factors. The main study examined which of these factors predicted participants’ behavioral intent to engage in an argument about different topics and with different partners. Results indicated intent to engage was predicted by five factors: one’s orientation to the topic, (...) one’s preparedness for an argument, the costs of arguing, the effort involved in arguing, and one’s right to speak one’s mind. Several of these factors are new contributions to argument engagement research. A discussion of these results and their implications are presented. (shrink)

What defines a work of art and determines the way in which we respond to it? This classic reflection was written with the belief that the nature of art has to be understood simultaneously from the artist's as well as the spectator's viewpoint.

I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn (...) to Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

Collected essays and lectures reflect the philosopher's belief in the relationship between art and the mind.

Richard Wollheim grew up lonely and sad in London's wealthy suburbs during the 1920s and 1930s, yet his was a childhood more interesting than most. He had an impresario father and a “Gaiety Girl” mother; together they attracted important guests (Diaghilev, Kurt Weill, Serge Lifar) to the grand houses and hotels that punctuated the landscape of Wollheim's early years. Germs is his account of that time, of the years he spent adoring his charming but distant father; of his (...) regret for loathing his beautiful, mindless mother. Told in prose that with hypnotic ease moves from deadpan comedy to poignant loneliness, Germs is already a classic work of memoir. (shrink)

Armed with a theory of representation, or with answers to the two questions, What is a representation? and What is it to represent?, we might imagine ourselves approaching a putative representation and asking of it, Is it a representation?, and then, on the assumption that the answer is yes, going on to ask of it, What does it represent? Now, the answers that such questions receive might be called the applied answers of the theory that we are armed with. It (...) is in terms of this notion—that of the applied answers of a theory—that we may introduce the second way of classifying theories of representation. Theories of representation might be classified according to the degree of dependence or independence between the applied answers they provide in the case of any given representation. Richard Wollheim is Grote Professor of the Philosophy of Mind and Logic in the University of London and the author of F. H. Bradley, Socialism and Culture, Art and its Objects, Sigmund Freud, On Art and the Mind, and the novel, A Family Romance. He is currently working on a book dealing with pictorial style. In somewhat different form this paper was originally presented at the Annual Conference of the Developmental Section of the British Psychological Society, Surrey, 1976. The proceedings of that conference are published as The Child's Representation of the World, Plenum Press, 1977. (shrink)

This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend (...) a view on which the external spectator simply imagines herself interacting, psychologically and otherwise, with the depicted scene. I explore some of the consequences of the two positions for pictorial aesthetics, arguing that the view I favour is at least as competent as Wollheim's at accommodating those phenomena we have any reason to think hold. (shrink)

Whether the word ‘passion’, as indicating the suffering or affection from without of a soul, is by now no more than a dead metaphor, surviving from an antique conception of the mind; whether, indeed, there is any way open to us of determining the passivity or otherwise of our inner life, apart, that is, from how it strikes us, from how we are prompted to describe it, are not questions that I can take up this evening. It is enough for (...) my purpose that for much of the time our feelings, our emotions, our inclinations are as fluctuating or as imperious as if they were not totally under our control. We are elated: we are dejected: we get angry, and then our anger gives place to a feeling of absurdity: we remain in love with someone who is lost to us but whom we cannot renounce: we are interested in something, and suddenly we are bored, or frightened that we will be bored: we see a stranger, someone who is nothing to us, who is poor or crippled, and we feel guilt: someone does something wrong or foolish, and we are unaccountably transported by laughter, by ‘sudden glory’ as Hobbes called it, knowing what it was about, and then, as unaccountably, we are thrown down. Man is, in Montaigne's famous phrase, une chose ondoyante, a creature of inner change and fickleness. (shrink)

There was a deep continuity in Wollheim’s thought from his book on F. H. Bradley onward. His notion of the concept of art as deeply interiorized was inextricable from his sense of the psychological unity of the mind and the historical continuity of artistic tradition, seen on analogy with an inherited language. His study of pictorial representation pivoted on the innate psychological capacity of ‘seeing-in’, perceiving the represented subject in a surface from which it was seen as distinct but to (...) which it could be related. The expressiveness of depiction he explained through a psychoanalytic concept of projection in which we come to see a piece of the external world as corresponding to an inward state of mind. He reserved the use of the term ‘imagination’ for the artist’s elaboration of ‘seeing-in’. This he exemplified in accounts of painting by Manet, Friedrich, Titian, and Ingres among others. His critical stance has a close affinity with certain essays by Pater. (shrink)

It is a daunting task to tell the story of the lives emotions lead, how they are rooted in the deeper folds of the person’s psyche and wax and wane over a lifetime. Wollheim’s book is at times a daring attempt to cast an analytic philosopher in the role of narrator of this fascinating but hard to follow story. Two related story lines run through his book. One repeatedly criticizes contemporary philosophers for turning a blind eye to the psychological reality (...) and developmental nature of desire and emotion. The other, containing the book’s main project, develops an account of the characteristic history of an emotion from its origins in a satisfied or frustrated desire, to the formation of an attitude that lies at the core of an emotion, and finally to the fantasized critic in moral emotions such as shame and guilt. How we rate the success of the project depends in no small part on how we assess the relation between these two themes. (shrink)

Obscurity is not the worst failing, and it is philistinism to pretend that it is. In a series of brilliant essays written over the last fifteen years Stanley Cavell has consistently argued that more important than the question whether obscurity could have been avoided is whether it affects our confidence in the author. Confidence raises the issue of intention, and I would have thought that the primary commitment of a psychoanalytic writer was to pass on, and (if he can) to (...) refine while passing on, a particular way of exploring the mind. Indeed this is how Lacan himself proposes that his work should be judged. “The aim of my teaching,” he writes, “has been and still is the training of analysts.” For decades now Lacan has been insisting that the nature of this commitment has been systematically obscured, particularly in North America. Training has become “routinized”, and analysis itself has become distorted into a process of crude social adaptation. There is much here to agree with. Yet two questions must be raised. Has Lacan devised a more effective method of training analysts? And, would one expect this from his writings? Neither question gets a favourable answer. All reports of his training methods, over which he has now brought about three distinct secessions within the French psychoanalytic movement, are horrifying. 13 It is now, I am told, possible to become a Lacanian analyst after a very few months of Lacanian analysis. And what pedagogic contribution could we expect from a form of prose that has two salient characteristics: it exhibits the application of theory to particular cases as quite arbitrary, and it forces the adherents it gains into pastiche. 14 Lacan's ideas and Lacan's style, yoked in an indissoluble union, represent an invasive tyranny. And it is by a hideous irony that this tyranny should find its recruits among groups that have nothing in common except the sense that they lack a theory worthy of their cause or calling: feminists, cinéastes , professors of literature. Lacan himself offers several justifications for his obscurity, about which he has no false modesty. At times he says that he is the voice, the messenger, the porte-parole , of the unconscious itself. Lacan's claim stirs in my mind the retort Freud made to a similar assult upon his credulity and by someone who had learned from Lacan. “It is not the unconscious mind I look out for in your paintings,” Freud said to Salvador Dali, “it is the conscious.”. (shrink)

Whether the word ‘passion’, as indicating the suffering or affection from without of a soul, is by now no more than a dead metaphor, surviving from an antique conception of the mind; whether, indeed, there is any way open to us of determining the passivity or otherwise of our inner life, apart, that is, from how it strikes us, from how we are prompted to describe it, are not questions that I can take up this evening. It is enough for (...) my purpose that for much of the time our feelings, our emotions, our inclinations are as fluctuating or as imperious as if they were not totally under our control. We are elated: we are dejected: we get angry, and then our anger gives place to a feeling of absurdity: we remain in love with someone who is lost to us but whom we cannot renounce: we are interested in something, and suddenly we are bored, or frightened that we will be bored: we see a stranger, someone who is nothing to us, who is poor or crippled, and we feel guilt: someone does something wrong or foolish, and we are unaccountably transported by laughter, by ‘sudden glory’ as Hobbes called it, knowing what it was about, and then, as unaccountably, we are thrown down. Man is, in Montaigne's famous phrase, une chose ondoyante, a creature of inner change and fickleness. (shrink)

In the late 1960’s I found myself in a brief correspondence with T.S. Eliot, whom I didn’t know, on the subject of the reissue of his PhD thesis. Anne Bolgan, who edited the thesis for publication, was working closely with me, and she was our intermediary. Eliot found the task of returning to something that was so distant in his past, so remote from his present concerns, very daunting. Bradley was for him, he wrote to me, an “after-image”. In preparing (...) this talk, I have often thought back to this remark. For me too Bradley is an after-image. Please bear that in mind. (shrink)

The training and experience of such academic philosophers as Richard Rorty and Hilary Putnam do not equip them with the economic and other social‐scientific tools necessary to make useful contributions to political discussion. In the case of Rorty, this has resulted in his being unable to make effective ripostes to left‐wing critics of his defense of “bourgeois liberalism,” his uncritical endorsement of simplistic arguments for social reform, and his embrace of false prophecies of doom, such as those found (...) in Orwell's novel Nineteen Eighty‐Four. Moreover, his disdain for “theory” has blinded him to the utility of mid‐level theories, such as those of economics, in dealing with concrete social problems. (shrink)

The central thesis (CT) that this paper upholds is that a picture depicts an object by generating in those who view the picture a visual experience of that object. I begin by presenting a brief sketch of intentionalism, the theory of perception in terms of which I propose to account for pictorial experience. I then discuss Richard Wollheim’s twofoldness thesis and explain why it should be rejected. Next, I show that the socalled unique phenomenology of pictorial experience is simply (...) an instance of perceptual indeterminacy. Lastly, I discuss a phenomenon associated with pictures that could be considered a problem for CT, and account for it by invoking the thesis that visual experience is cognitively penetrable. (shrink)

Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. (...) An authorised member of an artworld has a good reason to confer the status on an object if it satisfies a subset of criteria respected as sufficient within this artworld. The first horn of the dilemma is averted because explaining the reasons behind conferral cannot eliminate references to the institution, and the second loses its sharpness, as accepting partial arbitrariness of the conferral does not deprive the theory of its explanatory power. (shrink)

This volume gathers together for the first time are all the key texts in a crucial debate in modern philosophy, centered on Leibniz's famous 1695 essay, the "New System of the Nature of Substances and their Communication," in which he introduced his strikingly original theory of metaphysics. His "system" became increasingly famous and drew him into discussion and development of these ideas, both in public and in private, with a variety of thinkers, most notably the great French philosopher Pierre (...) Bayle. Woolhouse's and Francks's new English edition gives the only full representation of this debate, and will therefore be essential reading for anyone who wishes to gain a proper understanding of Leibniz's philosophy and its intelletual context. All the texts are newly translated and extensively annotated; many appear in English for the first time. (shrink)

The paper discusses Edmund Husserl’s threefold pictorial experience and the threefold aesthetic experience of pictures accordingly. It aims to show what the advantages are of the threefold account of pictorial experience, in contrast to the twofold account, to explain aesthetic experience. More specifically, it explains the role of the image object’s fold in aesthetic experience. The paper is divided into three parts. The first part explains and defends Husserl’s theory of threefold pictorial experience, which is an experience of seeing-in or, (...) in Husserl’s terminology, image consciousness. A comparison will be made with other seeing-in theories, especially with Bence Nanay’s threefold account of picture perception. The second part explains the relationship between the second and the third fold, namely the resemblance and difference between the image object and the image subject. The focus is on explaining the terms of analogizing and non-analogizing moments of the image object. The third part of the paper discusses Husserl’s theory of the threefold aesthetic experience of pictures. It will be shown that aesthetic attitude is turned toward the how of representation, instead of the what of representation. Also, a comparison between Husserl and Richard Wollheim’s theories of representation is made. More specifically, the paper will show that Richard Wollheim’s different hows of representation are similar to Husserl’s view on analogizing and non-analogizing moments of the image object. (shrink)

A collection of essays on Wollheim's philosophy of art; includes a response from Wollheim himself.

Identification as a psychological concept is widely used in psychology and in social science. This use relies on an ordinary understanding of what identification is, and this understanding has itself been influenced by psychoanalysis. The concept is, however, in need of philosophical exploration. Central to its use is the idea of character, its nature and its development, which like identification itself is under-theorized. I use Richard Wollheim's philosophical analysis of identification in terms of the imagination, to trace a (...) path from ordinary psychology's conception of characterological identification to the psychoanalytic one. I link this to a short discussion of character as a conception of the self available to reflection. Making reference to some psychoanalytic case material, I defend psychoanalysis? version of identification and its applicability in psychology and the social sciences. (shrink)

This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is, involving coordination between the mind and the hand. Third, appreciation of Chinese calligraphy (...) is identified with the process of reconstructing the calligrapher's creation of the work, which is analogous to Richard Wollheim's identifying criticism as retrieval. The last section examines the concept of qi and discusses what kind of aesthetic considerations encourage us to make a connection between Chinese calligraphy and abstract art. (shrink)

One of the greatest of modern philosophers, on a par with his contemporary John Locke, Leibniz was born in Leipzig in 1646, died in Hanover in 1716. He was a leading figure in European intellectual circles, and the founder of the Academy of Berlin. His strange, complex metaphysical system established him as the third of the great 'Rationalists', after Descartes and Spinoza. Along with the 'New System', his most famous philosophical works are the Discourse of Metaphysics and Monadology. He also (...) made important contributions to logic, mathematics, theology, jurisprudence, and history.Gathered here for the first time are all the key texts in a crucial debate in modern philosophy, centred on Leibniz's famous 1695 essay, the `New System of the Nature of Substances and their Communication'. In this classic essay Leibniz introduced to a broad European readership the strikingly original metaphysical ideas he had come to a decade earlier. His 'system' became increasingly famous and drew him into discussion and development of these ideas, both in public and in private, with a variety of thinkers: Simon Foucher; Henri Basbage de Beauval; Francois Lamy; Isaac Jacquelot; the Englishwoman Damaris Masham; Pierre Desmaizeaux; René Joseph de Tournemine; and most notably the great French philosopher and scholar Pierre Bayle. (shrink)

The present thesis is intended as a contribution toward a Rousseauean theory of democracy. The central problem discussed is how the act of voting must be interpreted in democratic theory. The notion of a theoretical interpretation of voting is discussed in Chapter One. A theory of democracy must include an interpretation of the act of voting if any praise or criticism of democracy is to be possible. The theoretical interpretation is distinct from an empirical account of voting behavior, and also (...) distinct from a moral or prudential imperative. It is left as an open question whether one ought, morally or prudentially, to vote in the way that democratic theory interprets voting, or indeed whether one ought to vote at all. ;Social choice theory typically assumes that votes are expressions of individual preferences--that each individual expresses his or her narrowly self-interested preferences, and a proper aggregation of these will yield a utility maximizing result. In Chapter Two it is argued that, for reasons stemming from analysis of the concept of democratic voting, no understanding of "preference" is acceptable as a theoretical interpretation of voting. Six such understandings are disqualified, and the interpretation of votes as statements on the common interest is argued to succeed where these fail. In Chapter Three Richard Wollheim's puzzle of the minority democrat is discussed in relation to several closely related puzzles which apply to both democracy and utilitarianism. All three puzzles are argued to be dissolved if votes are interpreted as statements on the common interest. The solution to Wollheim's paradox, called the Correction Solution, gives rise to the disturbing possibility that the minority is interpreted as simply deferring to the majority. This danger is discussed in detail in Chapter Four, and again the interpretation of votes as statements on the common interest is argued to be uniquely qualified to avoid it. (shrink)

The deepest beliefs’ about personal identity whose consequences Unger seeks to draw out are the beliefs of those who already share his theoretical convictions; and his pain-avoidance’ experiments show nothing unless one already assumes those convictions. If there is a risk’ that I may not survive a brain operation even though I know exactly which chunks of brain will be removed and replaced, that shows that I am a separate thing from my body and brain, about which the latter provide (...) normally reliable, but still fallible evidence. (shrink)

Richard Wollheim was hardly alone in supposing that his account of pictorial depiction implies that a trompe-l’œil is not a depiction. I recommend removing this apparent implication by inserting a Kant-style version of aspect-perception into his account. I characterize the result as Neo-Wollheimian and retain the centrality of Wollheim’s notion of twofoldedness in the theory of depiction, but I demote it to a contingent feature of depictions and I criticize his employment of it for determining the category of both (...) the trompe-l’œil and depictions in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Who or What is the Preembryo?S.J. Richard A. McCormick (bio)IntroductionAlthough widely used by scientists, the term "preembryo" has raised some suspicions. Histopathologist Michael Jarmulowicz (1990), for example, asserts that the term was adopted by the American Fertility Society (AFS) and the Voluntary Licensing Authority (VLA) in Britain "as an exercise of linguistic engineering to make human embryo research more palatable to the general public."I cannot speak for the (...) VLA, but I can clarify that this was not the motive of the AFS. As a member of the AFS ethics committee that discussed and adopted this terminology, I know that our discussion was not tied to embryo research or moral issues. The term "preembryo" was adopted because the earliest stages of mammalian development primarily involve establishment of the nonembryonic trophoblast, rather than the formation of the embryo. As Clifford Grobstein (1988, p. 61), a distinguished basic scientist who also sat on the AFS committee notes:The scientific rationale for the term preembryo... is its greater accuracy in characterizing the initial phase of mammalian and human development.... The status implications of such a change in terminology were not at issue in the discussion.This is not to say that the moral status of the preembryo is not a concern worthy of independent consideration. It is an important question with significant practical implications, especially in the context of in vitro fertilization. At stake are issues such as: (1) what may be done to preembryos before transfer; (2) whether all preembryos must be transferred; and (3) what may be done to preembryos that are not transferred (Ethics Committee of the American Fertility Society (AFS) 1986, p. 29S). Furthermore, emergency treatment of rape cases may also depend on such a determination. [End Page 1]Cryopreservation, which entails freezing unused preembryos for possible later use, is one example of a procedure that raises issues associated with the moral status of the preembryo. Cryopreservation decreases the number of stimulated egg recovery cycles a woman must undergo and increases flexibility in transfer protocols. But thawing of the preembryos is not a completely benign process; significant numbers of the preembryos die in the process and injury cannot be excluded.In addition, down the road a year or so lies preimplantation genetic diagnosis, now being tested in several centers of reproductive research. This would involve the removal of one or more cells from a preembryo developing in vitro. The DNA from these cells would be studied and then only genetically normal preembryos would be transferred. With the growth in knowledge about single gene defects and the rapid advance of amplification technology, which allows gene visualization, it is not difficult to imagine scientists embarking on a variety of micromanipulations of the preembryo for the sake of gaining knowledge.Not all research with gametes involves preembryos, but clearly some experiments and procedures await resolution of the moral status of the preembryo. I contend in this paper that the moral status—and specifically the controversial issue of personhood—is related to attainment of developmental individuality (being the source of one individual). This contrasts with the view that holds that personhood occurs earlier, at the point of genetic uniqueness. I believe that an embryo that has developed to the point where it can be one individual and one individual only, differs in moral status from a preembryo that has not, even if in many cases we may choose to treat them similarly.The Scientific UnderpinningsTwo things must be kept in mind—and in a sense, in tension—in turning to science for help in assessing the status of the preembryo. First, science is not competent to decide the question of personhood or ensoulment. As the Catholic document, Declaration on Procured Abortion, which I will return to later, notes: "It is a philosophical problem" (Congregation for the Doctrine of the Faith (CDF) 1974, p. 10, endnote 19). On the other hand, another Catholic document, Donum vitae(CDF 1987), notes that the conclusions of science provide a "valuable indication" for reason's deliberations about personhood. We might say that if science cannot decide the question of personhood, neither can it be decided without science.For my review of embryological science... (shrink)

This paper is a talk that the late Richard Wollheim gave at Loughborough University in September 1998. It is published here with the permission of Loughborough University and Wollheim's literary executors. The paper begins by reflecting on modes of artistic evaluation, distinguishing evaluations of interest from evaluations of quality. The former, the subject of the paper, are relativized to works of art within particular art forms, and concern ‘the extent to which the methods and the resources of the (...) particular art to which the work belongs have been fruitfully exploited’. The essentialist view of art implicit in this account is recognized and defended, the view that there are necessary truths about each art form explained in terms of the medium used. An examination of drawing is offered, its techniques and achievements explored, with the principal focus on the ways that the media of drawing are utilized in the service of representing an object. The methods of delineation and form-drawing are highlighted: ‘form-drawing, like delineation, has to be understood through the co-operation between artist and spectator, and, in both cases, it is ultimately the hand of the artist that has to respond to the eye of the spectator’. (shrink)

From the very day in 1686 when Edmond Halley placed Book I of the Principia before the Royal Society, Robert Hooke's claim to prior discovery has been associated with the law of universal gravitation. If the seventeenth century rejected Hooke's claim summarily, historians of science have not forgotten it, and a steady stream of articles continues the discussion. In our own day particularly, when some of the glitter has worn off, not from the scientific achievement, but from the character (...) of Newton, there has been a tendency vicariously to atone for the treatment Hooke received. The judgement Lohne cites with approval from Vavilov appears to summarize the current estimate of the issue—in the seventeenth century only Newton could have written the Principia; nevertheless Hooke first sketched out its programme. What with all the knocks he has received both alive and dead, one feels guilty in assuming the role of “debunker” at this late date. Apologetically draped in sackcloth then, head covered with ashes I venture softly to suggest that Hooke has received more than his due. There is no question here of justifying Newton's behaviour toward Hooke. Wholly lacking in generosity as it appears to me, Newton's behaviour neither deserves nor can receive justification. The question turns rather on Hooke's scientific theories. Granting always his lack of demonstrations, historians have been prone to interpret his words in the light of Newton's demonstrations. A close examination of Hooke's writings does not sustain the interpretation. Contrary to what is generally asserted, he did not hold a conception of universal gravitation. And if he announced the inverse square relation, he derived it from such a medley of confusion as will not allow his claim to priority. (shrink)

How do we know and understand who we really are as human beings? The concept of 'the self' is central to many strands of psychology and philosophy. This book tackles the problem of how to define persons and selves and discusses the ways in which different disciplines, such as biology, sociology and philosophy, have dealt with this topic. Richard S. Hallam examines the notion that the idea of the self as some sort of entity is a human construction and, (...) in effect, a virtual reality. At the same time, this virtual self is intimately related to the reality of ourselves as biological organisms. Aiming to integrate a constructionist understanding of self with the universalizing assumptions that are needed in natural science approaches, this text is unique in its attempt to create a dialogue across academic disciplines, while retaining a consistent perspective on the problem of relating nature to culture. (shrink)

Safety testing of biological pharmaceuticals is often carried out by contract testing laboratories which perform these tests on behalf of the drug’s developer. These laboratories are confronted with a number of ethical issues related to selling their services, maintaining confidentiality, and the handling of results. This paper outlines these issues, and, by way of illustration, discusses how one such laboratory addresses them.