In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...) phenomena in their fullness. (shrink)

From late 1684 through mid-1685, Isaac Newton turned to developing and refining the conceptual foundations presupposed by his emerging physics. Analysis of his manuscripts from this period reveals that Newton’s understanding of the relativity of acceleration led him to seek a spatiotemporally invariant quantity of matter. He found two such quantities and then designed an experiment to discover their relationship. Interpreting the experiment, however, required distinguishing a new notion of force. Others have recognized the conceptual distinction between inertial and gravitational (...) mass. I show here that Newton clearly saw this distinction and that he provisionally established their equivalence. (shrink)

In an influential series of papers, Cleland (2001, 2002, 2011) argued that historical natural scientists employ a distinctive methodology—which exploits Lewis (1979)s asymmetry of over determination—that is capable of putting knowledge of the deep past on an epistemic par with experimental knowledge. Currie (2018) clarified the nature of the asymmetry claim and used it to argue for a more restricted form of optimism toward the historical sciences. This optimism is licensed by the evidential redundancy that the asymmetry of over determination (...) guarantees.In this chapter I show that the argument for the asymmetry of over determination is circular and the thesis is false. Over determination toward the past is smuggled in from the start by ruling out of consideration so-called backtracking counterfactuals. By banning backtracking counterfactuals, consideration is restricted to possible worlds in which the over determination thesis holds. But in the actual world, the present is compatible with many different histories. (shrink)

Historical contingency is commonly associated with unpredictability and outcome variability. As such, it can be seen as an undesirable aspect of experimental investigations. Many might agree that experimental methodologies that include enough control help to by-pass this problem and thereby make for more secure knowledge. Against this received view, we argue that, for at least some historically contingent processes, an over-emphasis on control might mislead by obscuring the very object of investigation or by preventing fruitful discoveries. In discussing cases from (...) evolutionary biology, developmental biology, and geochemistry/astrophysics, we show how investigating through approaches that don’t prioritize environmental control, while allowing for greater variability of outcomes, better respects the object/environment entanglement of these systems. Finally, we defend the idea that, despite the lower level of control, these types of experiments do not have a lower epistemic value than more highly controlled experiments. (shrink)

Philosophy of film without theory is a methodology that aims to motivate and legitimise the current and future development of a range of a-, non-, and anti-theoretical ways of working at the intersection of film and philosophy. We contrast philosophy of film without theory with the main traditions of theoretically orientated philosophy of film, as well as philosophically inflected film Theory and film-philosophy. We also draw attention to the range of philosophical practices and pursuits that distinguish philosophy (in general) without (...) theory and contemporary philosophy (in general) with its near ubiquitous theoretical presumption. The paper finishes with a brief introduction to the various contributions to this Special Issue of Aesthetic Investigations on Philosophy of Film Without Theory. (shrink)

In this paper I consider Corneliu Porumboiu’s ‘Police, Adjective’ (Romania, 2009) as an instance of a puzzling work of art. Part of what is puzzling about it is the range of extreme responses to it, both positive and negative. I make sense of this puzzlement and try to alleviate it, while considering the film alongside Ludwig Wittgenstein’s arguably puzzling “Lectures on Aesthetics” (from 1938). I use each work to illuminate possible understandings of the other. The upshot is that it is (...) is plausible to regard both as engaged, in part, in preparing us to make sense both of themselves, and then also of other works. (shrink)

In this paper I address some ways of making sense of, and so of understanding, recipes. I first make clear the plausibility of a recipe having aesthetic significance, thus situating recipes as continuous with other aspects of our lives and experiences, both artistic and non-artistic. My notion of “aesthetic” here derives from Ludwig Wittgenstein. Second, I also highlight how some recipes and cookbooks may actually serve another aesthetic goal: they facilitate attunement to aesthetic features of cooking and food, and to (...) things more generally. I show how this kind of preparation is consistent with Wittgenstein’s aims in his “Lectures on Aesthetics”, where he encourages a particular aesthetic attitude or predisposition. (shrink)

Is philosophy of film without theory an oxymoron or a family of non-, anti-, and a-theoretical approaches with which to engage in film-involving philosophical scholarship and understanding? The goal of this collection is to argue for the latter and to do so by example. By demonstrating a mere handful of the many ways in which philosophy of film without theory might be pursued, in tandem with the insights born of these methods, the volume’s contributors both implicitly and explicitly challenge the (...) academic assumption that engaging philosophically with film must be a theoretical activity. Indeed, they indicate the potential for championing without theory scholarship across the humanities for anyone whose projects and practices seek and celebrate humanistic understanding. -/- Contributors include Lucy Bolton, Carla Carmona, James Conant, Katheryn Doran. Maximilian De Gaynesford, Rob van Gerwen, John Gibson, Eran Guter & Inbal Guter, Colin Heber-Percy, Iris Vidmar Jovanović, Andrew Klevan, David Macarthur, Rupert Read, William Rothman, Constantine Sandis, and Sebastian Sunday. Films and television programmed discussed include Gravity, Le notti di Cabiria, Dunkirk, The Handmaid's Tale, Three Colours: Red and many more. -/- In addition there is an interview with Richard Allen and Malcolm Turvey. (shrink)