This article proposes a theological emphasis to the definition of προσλαμβάνω in Romans 14–15. Previous accounts have emphasised the domestic and social implication of Paul's imperative—‘welcome one another’ (Rom. 15:7a). The result has been that what Paul might have meant by God's and Christ's ‘welcome’ (Rom. 14:3 and 15:7b) has been governed by the ethical imperative. In order to investigate the ‘welcome’ of God and Christ, this article proposes a context of three important Septuagintal antecedents as yet unconsidered: (...) 1 Samuel 12, Psalm 18, and Psalm 65: In this context, God's and Christ's ‘welcome’ in Rom. 14–15 incorporates notions of justification, election, salvation, and unified worship. A theological reading of προσλαμβάνω, using these intertextual resources, therefore provides a stronger position from which to understand Paul's imperative—‘welcome one another’. (shrink)

In several recent articles and a monograph, Andrew Loke has outlined a particular model of the Incarnation, which he calls the Divine Preconscious Model. In this article I provide a critique of this model, drawing on recent work by James Arcadi in order to show that there are serious theological costs involved in adopting the DPM.

The atonement is one of the central and defining doctrines of Christian theology. Yet the nature of the atonement – how it is that Christ's life and death on the cross actually atone for human sin – remains a theological conundrum. This article offers a new argument for an old theory of the atonement, namely, penal substitution. First, it sets out the theological context for the argument. This involves giving some account of alternative theories of the atonement in the (...) tradition, and why penal substitution might be thought a particularly appealing way of thinking about the atonement. The article then presents an argument for a version of penal substitution that involves the application of an idea found in some Augustinian accounts of the transmission of sin from Adam to his progeny. At the end of this exposition, it offers some brief comments on the metaphysics undergirding the theology of this argument. The final section discusses several theological and philosophical objections to this reasoning. (shrink)

In his recent two‐volume Systematic Theology, Robert Jenson offers an account of Christ's pre‐existence that is, in several important respects, an original contribution to the literature. In this article, I offer a critical interaction with Jenson's doctrine. In particular, I show that what Jenson has to say about divine eternity and the relationship between philosophy and theology, have important bearings on his construal of Christ's pre‐existence and, in the final analysis, skew what he has to say on the (...) matter. I conclude that Jenson's account of this doctrine, though suggestive and insightful in several respects, is unsuccessful, indeed, incoherent, as it stands. (shrink)

Self, World, and Time takes up the question of the form and matter of Christian ethics as an intellectual discipline. What is it about? How does Christian ethics relate to the humanities, especially philosophy, theology, and behavioral studies? How does its shape correspond to the shape of practical reason? In what way does it participate in the proclamation of the gospel of Jesus Christ? Oliver O'Donovan discusses ethics with self, world, and time as foundation poles of moral reasoning, (...) and with faith, love, and hope as the virtues anchoring the moral life. Blending biblical, historico-theological, and contemporary ideas in its comprehensive survey, Self, World, and Time is an exploratory study that adds significantly to O'Donovan's previous theoretical reflections on Christian ethics. (shrink)

We have, as a theological community, generally lost a language in which to speak of the created-ness of the world. As a consequence, our discourses of reason cannot bridge the way we know God and the way we know the world. Therefore, argues Oliver Davies, a primary task of contemporary theology is the regeneration of a Christian account of the world as sacramental, leading to the formation of a Christian conception of reason and a new Christocentric understanding of the (...) real. Both the Johannine tradition of creation through the Word and a Eucharistic semiotics of Christ as the embodied, sacrificial and creative speech of God serve the project of a repairal of Christian cosmology. The world itself is viewed as a creative text authored by God, of which we as interpreters are an integral part. This is a wide-ranging and convincing book that makes an important contribution to modern theology. (shrink)

The modern situation: Causes and reasons for disbelief. Note: Desire for God as cause and reason for belief.--Two types of argument for belief. Note: The ontological proof.--Ideas of God in modern science and religion. Note: Bibliographical.--God in CHrist.

In modern theology the doctrine of the Virgin Birth of Christ, including the doctrine of his Virginal Conception, has been the subject of considerable scepticism. One line of criticism has been that the traditional doctrine of the Virgin Birth seems unnecessary to the Incarnation. In this essay I lay out one construal of the traditional argument for the doctrine and show that, although one can offer an account of the Incarnation without the Virgin Birth which, in other respects, is (...) perfectly in accord with catholic Christianity, such a doctrine is still contrary to the plain teaching of Scripture and the Creeds on the question of the mode of the Incarnation. It might still be thought that the Incarnation was an ‘unfitting’ means of Incarnation. In a final section I draw upon Anselm's arguments in defence of the Incarnation to show that this objection can also be overcome. (shrink)

La théologie d'un genre nouveau proposée ici est fondée sur la conviction que c'est sous les mots «étant transformé» que la réalité que nous recherchons nous devient disponible. Cette théologie envisage les personnes et le monde, étants modelés par la puissance ou la causalité divine à l'oeuvre dans l'espace et le temps, et est donc bien exprimée par le nom de «Transformation Theology». Puisque le genre de transformation dont il s'agit ici est du domaine de l'Église, il s'agit aussi d'une (...) théologie qui engage un nouveau style de relation entre l'Église et la théologie ou, pour mieux dire, une nouvelle intensité de la vocation ecclésiale du théologien. La «Transformation Theology» tente de séparer l'affirmation doctrinale de la référence à la présence du Christ et la cosmologie dans laquelle cette référence est enfermée, et de déposer le spectre entier de la culture moderne, avec ses investigations réductionnistes, aux pieds du Christ vivant. (shrink)

In medieval Switzerland, war prayers were an important ritual that was performed both before battle and after a victory. Swiss troops prayed the Lord’s Prayer and the Hail Mary five times each, kneeling down and stretching out their arms in a prescribed posture. This posture, together with the quintuple repetition of the prayers, evokes the Passion of Christ and his five wounds. The Swiss troops thought of the correct performance of this prayer ritual as crucial for their military success. (...) The Swiss battle prayer also partly constituted a tactical means that was employed to scare or delude enemies unfamiliar with the ritual. From the early 16th century onwards, German humanist scholars criticized this prayer ritual as an act of superstition and uttered their disconcertment concerning the underlying belief of the Swiss that they were God’s chosen people. (shrink)

The dispute between two of Princeton Theological Seminary's leading Barth scholars concerning theological ontology invites engagement from the contemporary Thomistic tradition. On the one hand, McCormack argues that, in a fully Barthian theological ontology, divine triunity is constituted by the pretemporal election of Jesus Christ. On the other hand, Hunsinger contends that this election is expressive of an antecedent trinity. In the light of scholastic disputes between Dominican and Franciscan theologians, McCormack's proposal is seen to resemble aspects of the (...) Bonaventurean account of triune relationality, particularly the account of procession as constitutive of personal distinction and the affirmation of a primordial ‘primity’ adhering to the Father's innascibility. Whilst McCormack seeks to avoid an undetermined originary plenitude, his treatment of the divine attributes as logically consequent to election risks attributing to pretemporality a status akin to originary primity. Affirming, with Hunsinger, an eternal trinity antecedent to election, the Thomistic tradition nonetheless contains the resources necessary to prevent this antecedence becoming a dissociative antecedence. As such, Thomism preserves divine aseity whilst equally safeguarding against the disconnection of logos asarkos from logos incarnandus that McCormack regards as an unwarranted metaphysical speculation that bypasses the particularity of revelation in Jesus Christ. (shrink)

In this paper I develop a deconstructive analysis of the relationship between humanitarian aid and state sovereignty. First, I sketch Derrida's analysis of the Christian roots of contemporary concepts of tolerance, forgiveness, and hospitality. Second, I trace the history and etymology of the word ‘humanitarian’ to reveal its Christian heritage; and argue that ‘humanitarian’ is bound to the violence of Christ's crucifixion, on the one hand, and to the sovereignty of God, on the other. Third, I set out three (...) phases in the politics of contemporary humanitarian aid in relation to an increasing concern for humanitarian warfare. I conclude that international humanitarian aid and humanitarian warfare are bound together through an autoimmune logic that simultaneously challenges and shores up state sovereignty. State sovereignty creates ‘refugees’, which necessitates humanitarian aid organizations to step in and literally fill the space between state borders, a space that has become a kind of ‘no-man's land’ beyond citizenship. Police and military respond to refugee camps by patrolling them to shore up national borders and state sovereignty. Non-governmental humanitarian aid organizations, supposedly operating outside of nation states, become a necessary supplement to state sovereignty. (shrink)

This article seeks to place the theodicy of the Anglican theologian Austin Farrer, as expressed in Love Almighty and Ills Unlimited , within the context of philosophical and theological approaches to the so‐called “problem of evil”. Farrer's work is initially contrasted with the theodicies of John Hick and Richard Swinburne. This comparison reveals some of the rationalist and foundationalist moral assumptions of modern philosophical theodicy of which Hick and Swinburne are representatives. By contrast, it is argued that Farrer's approach is (...) thoroughly theological and begins not with a pre‐conceived ethics, but with God's self‐revelation in Jesus Christ. Farrer is thus deemed to have much in common with pre‐Enlightenment thinkers such as Augustine and Aquinas.Although Farrer's theodicy is seen to be theological , it is argued that he resists trends in recent theological approaches to theodicy that claim that God is passible . This article defends divine impassibility and argues that, although Farrer's later “metaphysical personalism” implies that God may be personal to the point that he could be said to suffer, his Augustinian notion of the nature of evil as privatio boni strongly implies impassibility. This Farrer is seen to avoid two anthropomorphic approaches to theodicy: one that judges God by the standards of a foundational secular morality, and the other that ascribes certain “personal” emotions to the divine.This article defends Farrer's theological approach to theodicy and his emphasis on ecclesiology and soteriology. However, the lack of a convincing and thorough dogmatic theology is seen to render his theodicy uncompelling. Despite this weakness, it is argued that Farrer's work points theodicy towards a theological encounter with particular narratives of evil and suffering and away from the consideration of a single “problem of evil” by means of “rational”, philosophical enquiry. (shrink)

Representation is an essential element of political authority, together with power and judgment, the latest to be acknowledged in the Christian West, coming to recognition in the Middle Ages with the expectation of a plurality of national identities. Its initial points of reference were theological, to Israel and to the dual office of Christ as priest and king, but in modern developments it has been understood especially in terms of legal forms. Government represents an existing political identity, bound up (...) with a tradition of continuing practice and constituted by a ‘common good’ which brings together the various interests within a society. ‘Recognition’ of government involves knowing it in relation to ourselves, by affective cognition, an emphasis lost in modern theories. Success and failure in representation are on a relative scale of more or less. It depends on realistic and truthful popular self-understanding. (shrink)

This paper considers two objections which can be levelled against Leibniz’s account of divine love. The first is that he cannot allow that divine love is gracious because he is committed to the view that love is properly proportioned to the perfection perceived in the beloved; the second is that God is cruel to those who are damned and so cannot be said to love all. I argue that Leibniz has the resources to rebut—or at least blunt—each of these objections.

The ostensible arguments advanced by Oliver O’Donovan for a confessionally Christian constitutional order are not persuasive, even in the terms of his own scheme, because they presuppose that such a confession may be required as a representative act. Within his theory lies, however, the assumption that confessing Christ is fundamental to all right decision-making, including the political. This renders the confession of Christ not merely a possibility for legitimate governments but rather essential to just political judgments. If (...) O’Donovan’s ostensible arguments prove too little, the underlying logic of his position claims too much. O’Donovan is mistaken in his assumption that political judgments must be placed within the same comprehensive moral vision as personal decisions. Because political judgments bear only an indirect relationship to absolute right they may be rightly made without the express confession of Christ in the constitutional order. (shrink)

The ostensible arguments advanced by Oliver O’Donovan for a confessionally Christian constitutional order are not persuasive, even in the terms of his own scheme, because they presuppose that such a confession may be required as a representative act. Within his theory lies, however, the assumption that confessing Christ is fundamental to all right decision-making, including the political. This renders the confession of Christ not merely a possibility for legitimate governments but rather essential to just political judgments. If (...) O’Donovan’s ostensible arguments prove too little, the underlying logic of his position claims too much. O’Donovan is mistaken in his assumption that political judgments must be placed within the same comprehensive moral vision as personal decisions. Because political judgments bear only an indirect relationship to absolute right they may be rightly made without the express confession of Christ in the constitutional order. (shrink)

Many research fields concerned with the processing of information contained in human faces would benefit from face stimulus sets in which specific facial characteristics are systematically varied while other important picture characteristics are kept constant. Specifically, a face database in which displayed expressions, gaze direction, and head orientation are parametrically varied in a complete factorial design would be highly useful in many research domains. Furthermore, these stimuli should be standardised in several important, technical aspects. The present article presents the freely (...) available Radboud Faces Database offering such a stimulus set, containing both Caucasian adult and children images. This face database is described both procedurally and in terms of content, and a validation study concerning its most important characteristics is presented. In the validation study, all frontal images were rated with respect to the shown facial expression, intensity of expression, clarity of expression, genuineness of expression, attractiveness, and valence. The results show very high recognition of the intended facial expressions. (shrink)

“Father” Zachary Hale Comstock is a self‐professed prophet, religious zealot, and racist, who has kept his “heir” under lock and key in the floating city of Columbia. Booker DeWitt is a washed‐up, disgraced ex‐Pinkerton agent haunted by his participation in the Wounded Knee Massacre. He enters Columbia to rescue Elizabeth in exchange for having his gambling debts settled. After much bloodshed, Booker saves Elizabeth and kills Comstock. In the past, Booker attended a baptism to assuage his guilt over Wounded Knee. (...) In some worlds he rejected the baptism, got married, had a daughter, Anna, and ended up as an indebted alcoholic ex‐Pinkerton agent. In the Comstock world, Anna is renamed Elizabeth in order to conceal her true origins. BioShock Infinite paints a metaphysical picture that treats the many‐worlds interpretation of quantum mechanics as reality. (shrink)

Diffeomorphism invariance is sometimes taken to be a criterion of background independence. This claim is commonly accompanied by a second, that the genuine physical magnitudes (the ``observables'') of background-independent theories and those of background-dependent (non-diffeomorphism-invariant) theories are essentially different in nature. I argue against both claims. Background-dependent theories can be formulated in a diffeomorphism-invariant manner. This suggests that the nature of the physical magnitudes of relevantly analogous theories (one background free, the other background dependent) is essentially the same. The temptation (...) to think otherwise stems from a misunderstanding of the meaning of spacetime coordinates in background-dependent theories. (shrink)

This article argues that the formally similar conceptions of political authority provided in Oliver O’Donovan’s Resurrection and Moral Order and The Desire of the Nations appear to assume different ontologies of political authority. The former account conceives political authority as a special use of natural authorities found in the created order, where ‘authority’ is defined as what it is that evokes free and intelligible human action. The latter account, however, appears to attribute the existence of political authority exclusively to (...) divine providence. I contend that these two accounts of political authority are ostensibly in tension. I also argue that O’Donovan’s subsequent ‘providentialist’ account of political authority is unable to explain how political authority can evoke free and intelligible action in political communities. I maintain that O’Donovan can remove this apparent tension by returning the essence of political authority to creation, as he did in Resurrection and Moral Order, and then regard the Christ-event as redeeming political authority rather than merely restricting its historical function to judgment, as he argues in The Desire of the Nations. The emergence of O’Donovan’s ‘Christian liberalism’ could then be regarded as the ‘work of divine providence in history’ facilitated by the redemption of the natural authorities in the created order. (shrink)

This article studies the fundamental shift between Paul Ramsey’s and Oliver O’Donovan’s ethics of war and so reintroduces Hegel into the debate on political ethics. The topic is approached through the notion of divine-human and political mediation, whereby Hegel’s early movement from Christology to dialectics provides the analytical framework. The article first studies the theo-logic of Paul Ramsey’s early agapist notions of war up to his transformist period. It then traces how O’Donovan fundamentally transforms Ramsey’s dialectical framework within that (...) of narrated Christology. O’Donovan’s focus culminates in the unified reign of Christ and the overcoming of Hegel’s dialectics. But it is argued that the transition to Hegel’s and Ramsey’s perspectives is constantly required in order to prevent Christian ethics from becoming ossified. The article thus hopes to initiate a comprehensive, because logical-systematic discussion of contemporary wars and war machines, especially in critical conversation with philosophers and military practitioners. (shrink)

In “The Book of the Crown (_Kitāb al-Iklīl_) of pseudo-Rhazes” Oliver Kahl and Henrietta Sharp Cockrell offer a facsimile edition, with annotated English translation and introductory study, of a unique and highly unusual medieval Arabic medical text.

Prima facie, Christian ethics will be centred on Jesus Christ, but to what extent can and should textbooks for academic study of the field have this focus? Perhaps the two most influential Anglophone Christian ethicists of recent decades are Stanley Hauerwas and Oliver O’Donovan. Their introductory (if demanding) volumes (The Peaceable Kingdom, 1983, and Resurrection and Moral Order, 1986) were both very Christocentric although in different ways. Yet recent textbooks in the discipline generally do not manifest such a (...) strong focus on Jesus Christ. This generates one criterion by which we might assess such books. This article reviews six textbooks, four by UK and two by US authors. It suggests that other criteria for assessment include whether they give appropriate prominence to the Pauline vision of ‘life by the Spirit’, whether they manifest such pastoral responsibility as Christian ethicists have for students, and whether they are alert to overlapping concerns in Christian ethics and missiology. (shrink)

The article seeks to stress the importance of two main innovations in Ernesto Laclau's recent work: what his theory of populism in On Populist Reason provides in terms of theoretical innovations is , a political theory of naming, and , a political theory of the heterogeneous. Furthermore, it is asked what it means to name, as Laclau himself does, the subject of the political "the people" and to define populism as the logic of all politics. It is argued against potential (...) criticism that these rather strong claims, far from being overstretched, in fact must be understood in the light of Laclau's new ideas on political naming and the heterogeneous, since his notions of populism and "the people" are the outcome of political nomination, that is, a political wager on Laclau's part , and the name of "the people," like every political name, will always cast a shadow on the heterogeneous as that which cannot be named. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

English has plural terms as well as singular terms. But our standard formal languages, e.g., the predicate calculus, feature only singular terms. How can the plural idiom be formalized?‘Changing the subject’ is by far the most common plurals strategy among both philosophers and linguists: a plural term is replaced by a singular term standing for some complex object that ‘contains’ the individuals to which the plural term alludes. For example, one might simply replace ‘A, B imply C’ with ‘{A, B} (...) implies [singular] C’. We uncover a surprising variety of ways to change the subject, of ever‐increasing complexity and ingenuity. Our question is whether any can made to work. (shrink)

_Skepticism and Cognitivism_ addresses the fundamental question of epistemology: Is knowledge possible? It approaches this query with an evaluation of the skeptical tradition in Western philosophy, analyzing thinkers who have claimed that we can know nothing. After an introductory chapter lays out the central issues, chapter 2 focuses on the classical skeptics of the Academic and Pyrrhonistic schools and then on the skepticism of David Hume. Chapters 3 through 5 are devoted to contemporary defenders of skepticism—Keith Lehrer, Arne Næss, and (...) Peter Unger. In chapter 6, author Oliver A. Johnson dons the mantle of skeptic himself and develops and adds theories to the skeptical arsenal. He closes with an examination of the relationship between skepticism and cognitivism, reaching and defending conclusions on the nature and extent of possible human knowledge. (shrink)

Provides an accessible account of the changing world of archaeological theory. It charts the emergence of the new emphasis on relations as well as engaging with current theoretical trends and the thinkers archaeologists regularly employ. This book will be an essential guide to cutting-edge theory for students and for professionals wishing to reacquaint themselves with this field. Oliver J.T. Harris is lecturer in archaeology in the School of Archaeology & Ancient History, University of Leicester. Craig N. Cipolla is lecturer (...) in historical archaeology in the School of Archaeology & Ancient History, University of Leicester"--Provided by publisher. (shrink)

Immanuel Kant is often considered to be the source of the contemporary idea of human dignity, but his conception of human dignity and its relation to human value and to the requirement to respect others have not been widely understood. Kant on Human Dignity offers the first in-depth study in English of this subject. Based on a comprehensive analysis of all the passages in which Kant uses the term ;dignity, as well as an analysis of the most prominent arguments for (...) a value of human beings in the Kant literature, the book carefully examines different ways of construing the relationship between dignity, value and respect for others. It takes seriously Kant s Copernican Revolution in moral philosophy: Kant argues that moral imperatives cannot be based on any values without yielding heteronomy. Instead it is imperatives of reason that determine what is valuable. The requirement to respect all human beings is one such imperative. Respect for human beings does not follow from human dignity for this would violate autonomy but is an unconditional command of reason. Following this train of thought yields a unified account of Kant s moral philosophy. (shrink)

The concept of mediation plays a central part in several positions of contemporary philosophy of technology. Especially Don Ihde and Peter-Paul Verbeek have served to establish mediation as one of the core concepts in the postphenomenologically rooted philosophical analysis of human-technology-world relations. While meditation theory provides many important conceptual and empirical contributions to our knowledge of how material artefacts shape our embodied being in the world, too little attention has arguably been given to the development of concepts that enable a (...) philosophical analysis of the symbolic aspect of technological artefacts. This paper aims to develop the notion of ‘symbolic mediation’ by drawing on inspiration from the tradition of philosophical anthropology, more specifically, the work of Ernst Cassirer and his Philosophy of Symbolic Forms (PSF). Drawing on empirical examples of human-robot interactions (HRI), I coin two types of symbolic mediation: 1) mythic mediation and 2) aesthetic mediation. (shrink)

Prima facie, Christian ethics will be centred on Jesus Christ, but to what extent can and should textbooks for academic study of the field have this focus? Perhaps the two most influential Anglophone Christian ethicists of recent decades are Stanley Hauerwas and Oliver O’Donovan. Their introductory volumes were both very Christocentric although in different ways. Yet recent textbooks in the discipline generally do not manifest such a strong focus on Jesus Christ. This generates one criterion by which (...) we might assess such books. This article reviews six textbooks, four by UK and two by US authors. It suggests that other criteria for assessment include whether they give appropriate prominence to the Pauline vision of ‘life by the Spirit’, whether they manifest such pastoral responsibility as Christian ethicists have for students, and whether they are alert to overlapping concerns in Christian ethics and missiology. (shrink)