What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...) question: what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

Arthur Danto's philosophy of film is contained almost entirely in a single, rich, but unruly essay, “Moving Pictures”, chock full of examples but digressive to the point of distraction. Danto's method is to address senses in which pictures generally may be said to be “moving” and to determine in which sense, indicative only of it, might film be said to be so. Danto dismisses out‐of‐hand communal viewing as a basis for understanding film on a purely theatrical (...) model. Danto's discussion of photography as a basis for film begins with a brief contrast with painting, the art that provides the hub of his general account of the ontology of art. The conclusion of “Moving Pictures” suggests that it is not so much making plain the reflexive nature of filmic representation that matters, but rather the exploitation of that structure in terms of the filmmaker's sensibility. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

Peirce believed that his pragmaticism can be conclusively proven. Beginning in 1903, he drafted several attempts, ending by 1908 with a semeiotic proof. Around 1905, he exposes the proof using the theory of Existential Graphs . This paper modernizes the semantics Peirce proposed for EGs in terms of game-theoretic semantics . Peirce's 1905 proof is then reconstructed in three parts, by relating pragmaticism to the GTS conception of meaning, showing that Peirce's proof is an argument for a relational structure of (...) the meaning of intellectual signs that our interpretative and strategic practices give rise to, and bringing out the key links between EGs and pragmaticism. (shrink)

The System of Existential Graphs may be characterized with great truth as presenting before our eyes a moving picture of thought. Provided this characterization be taken not as a flatly literal statement, but as a simile, it will, I venture to predict, surprise you to find what a strain of detailed comparison it will bear without snapping.Peirce once called his graphical system of logic—the Existential Graphs or EGs—the moving pictures of thought. In this essay, I argue that (...) Peirce meant that using his graphs to study the movement of thought is akin to Eadweard Muybridge’s use of moving pictures to study animal motion, and I show that this analogy is highly apt for several reasons. The analogy is apt because:... (shrink)

Mathematicians tend to think of themselves as scientists investigating the features of real mathematical things, and the wildly successful application of mathematics in the physical sciences reinforces this picture of mathematics as an objective study. For philosophers, however, this realism about mathematics raises serious questions: What are mathematical things? Where are they? How do we know about them? Offering a scrupulously fair treatment of both mathematical and philosophical concerns, Penelope Maddy here delineates and defends a novel version of mathematical (...) realism. She answers the traditional questions and poses a challenging new one, refocusing philosophical attention on the pressing foundational issues of contemporary mathematics. (shrink)

In this volume, we present a collection of writings each offering their own novel perspective with respect to question of realism. No doubt it has gathered much attention of recent philosophical debates; and one of its characteristic aspects, among those it has had a most notable impact, has been in blurring the more the rigid way of thinking the traditional demarcations between "continental" and "analytic" philosophy. This volume, then, offers a contribution to some of the many discussions on (...) class='Hi'>realism not only in the spirit that there is still much more to be said on the matter, but also in the recognition that a renewal of the discussion is necessary and should bypass old divisions. This is not to say that this volume departs entirely from any "old" sort of realism, or uncritically treats its object of study as creatable ex nihilo. Far from that, it moves from a broadly shared conviction that, if we are to re-position realism and see its present or future as not yet set into stone--that is, a way in which reality "must be" more than just be--a certain historicism cannot be left out of the picture of realism. (shrink)

In the discipline of international relations there are contending general theories or theoretical perspectives. Realism, also known as political realism, is a view of international politics that stresses its competitive and conflictual side. It is usually contrasted with idealism or liberalism, which tends to emphasize cooperation. Realists consider the principal actors in the international arena to be states, which are concerned with their own security, act in pursuit of their own national interests, and struggle for power. The negative (...) side of the realists’ emphasis on power and selfinterest is often their skepticism regarding the relevance of ethical norms to relations among states. National politics is the realm of authority and law, whereas international politics, they sometimes claim, is a sphere without justice, characterized by active or potential conflict among states. Not all realists, however, deny the presence of ethics in international relations. The article presents a comprehensive picture of political realism. -/- Korab-Karpowicz, W. Julian, "Political Realism in International Relations", The Stanford Encyclopedia of Philosophy (Summer 2018 Edition), Edward N. Zalta (ed.). (shrink)

String theory currently is the only viable candidate for a unified description of all known natural forces. This article tries to demonstrate that the fundamental structural and methodological differences that set string theory apart from other physical theories have important philosophical consequences. Focussing on implications for the realism debate in philosophy of science, it is argued that both poles of that debate become untenable in the context of string theory. On one side the claim of underdetermination of scientific theories, (...) which represents a pivotal element of empiricism, looses its appeal. On the other side the dissolution of any meaningful notion of an external ontological object destroys the basis for conventional versions of scientific realism. String theory seems to suggest an intermediate position akin to Structural Realism that is based on a newly emerging principle, to be called the principle of theoretical uniqueness. An appreciation of string theory’s considerable impact on basic conceptions of philosophy of science can also contribute to a clearer picture of string theory’s status and relevance in a scientific context. (shrink)

In spite of the evident centrality of philosophical 'realism' in Collingwood's autobiographical account of his own intellectual development, his critique of 'realism' has hardly been investigated as a central theme in his philosophy. Collingwood's arguments against contemporary 'realism' and his stated move beyond 'idealism' have mostly been treated as a minor question subordinate to other questions. By contrast, I have tried in this thesis to reconstruct Collingwood's philosophy as a critical development of the realism/idealism dispute of (...) his day, focusing on his less known early published and unpublished philosophical writings. This has enabled me to clarify his unique definition of 'realism' in terms of a dualistic framework, and understand his philosophy as an attempt to overcome such dualisms in the realms of philosophy. This approach ultimately highlighted the aim of Collingwood's reform of philosophy as the better understanding of the human mind and action. By employing the 'historical' and 'internal' method of analysis, I firstly illustrated how the idea of 'dualism' became an issue in the realism/idealism dispute as it emerged in early twentieth-century British philosophy. This was followed by a biographical sketch in which I demonstrated that Collingwood's educational background was perfectly equipped to refute the 'realist' philosophy in the dispute. Historically contextualising thus, I chronologically restored the formation of his critique of 'realism' as his attempts to synthesise dualisms in logic, ontology, epistemology, and ethics during the period between Religion and Philosophy and An Essay on Philosophical Method. Finally, I argued that Collingwood's critique of 'realism' crystallised in his notion of duty, which embodied his characterisation of philosophy as both 'normative' and 'descriptive'. Throughout, I presented a systematic and sustained picture of Collingwood's early philosophy, identifying and unfolding the fertile implications of his critique of 'realism' for his principal concern with the human mind and action. (shrink)

Quine’s desert is generally contrasted with Meinong’s jungle, as a sober ontological alternative to the exuberant luxuriance that comes with the latter. Here I focus instead on the desert as a sober metaphysical alternative to the Aristotelian garden, with its tidily organized varieties of flora and fauna neatly governed by fundamental laws that reflect the essence of things and the way they can be, or the way they must be. In the desert there are no “natural joints”; all the boundaries (...) we find are lines we have drawn, artificial fencings that merely reflect of our own demarcations, our classifications, our desperate need to ward off the flux and meet an excusable but ungrounded demand for order and stability. The desert returns a picture of reality that is radically anti-realist. And yet the picture does not amount to a form of irrealism. The desert is out there and is what it is regardless of how we feel. And it is not completely structureless. It’s just that the structure it has is very thin and does not correspond to the sort of structure that so-called metaphysical realists—and scientific realists alike—tend to attribute to it. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the philosophy of (...) Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

The Saga of Dharmapuri by O.V. Vijayan is a dystopian fantasy set in the imaginary country of Dharmapuri, which could be a depiction of India or any other newly independent country in the post-colonial era. Mikhail Bakhtin in his treatise Rabelais and his World justifies the use of Grotesque Realism, a literary trope that allows the author to move away from the conventions of propriety and decency to convey messages that are real and powerful nevertheless. Usually exaggeration and hyperbole (...) are key elements of this style. Through the centuries, literature has often been a medium through which contemporary concerns have been transmitted. This paper argues that O.V. Vijayan uses Grotesque Realism in his novel to depict the political, social and economic condition of India of the 1970s- specifically a country that was under emergency. Like all dystopian fables, The Saga of Dharmapuri has been prophetic in anticipating some of the social issues that we face even today. The paper aims at examining how Vijayan uses explicit language and scatological and sexual imagery so as to achieve this sense of realism within his novel. (shrink)

Motivated by the developments in contemporary mathematical physics and the related interpretive and historiographical works on these developments, a structuralist and historically constitutive and constructive approach to scientific realism (SHASR) is proposed to address the challenges Thomas Kuhn raised against scientific realism, and to remove the defects of the currently available dissatisfactory responses the structuralists put forward to the challenges. The paper shows that SHASR productively exploits the insights from both Kuhn’s historicism and his critics’ structuralism, while avoids (...) the traps in both traditions. Then, after a brief comparison between SHASR and the increasingly popular neo-Kantian post-Kuhnian philosophy of science recommended and defended by Michael Freedman and some others, it concludes with a big picture about the science-world relationship derived from the notion of emergence conceptualized within the framework of SHASR, whose bearings on the Kantian question of the phenomenal - noumenal relationship are worth further explorations. (shrink)

Pre-analytically, we are all scientific realists. But both philosophers and scientists become uncomfortable when forced into analysis. In the case of scientists, this discomfort often arises from quite practical difficulties in setting out a carefully described set of objects and their properties which adequately account at least for the phenomena with which they and those in their research specialty are concerned. I offer a set of representative examples of these difficulties for contemporary physicists. These examples challenge the traditional realist vision (...) of mature scientific activity as struggling toward a clear and ontologically well-defined world picture. (shrink)

This paper explores contemporary debates about the meaning and value of realism in political theory. I seek to move beyond the widespread observation that realism encompasses a diverse set of critiques and commitments, by urging that we recognize two key strands in recent realist thought. Detachment realists claim that political theory is excessively abstract and infeasible and thereby fails adequately to inform actual political decision-making. Displacement critics, on the other hand, suggest that political theory threatens or disrespects real (...) politics. Not only are these visions of realism very different, there are also important tensions between them. I focus, in particular, on clarifying and evaluating the more complex charge that political theory displaces politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

In this paper I describe the place of naive realism in Russell’s changing accounts of perception. I argue ‎for the following conclusions: (1) The early period, 1898-1910: I am inclined to think that the naïve ‎realism that Russell embraced so enthusiastically early on may not have been intended as a naïve ‎realism about perception, but as a metaphysical or semantical thesis. (2) The Problems of Philosophy ‎‎(1912): Russell abandons naïve realism (if, in fact, he ever held (...) it) and presents a sense-datum version ‎of representative realism. (3) “On Matter” (1912): here we see Russell’s best attempt to defend ‎something very close to the standard doctrine of naïve realism. The objects of perception—the ‎‎“everyday material objects such as caterpillars and Cadillacs”—have, of course, undergone severe ‎reconstruction. But the resulting picture does capture the spirit of the doctrine. (4) The period from ‎‎1914 to 1927: though Russell’s thinking about perception underwent some significant changes during ‎this period—the sense datum theory is replaced by neutral monism—I try to show that the ‎distinction between the matter of physics and the thing of common sense is a constant feature of ‎Russell’s changing views. And I suggest that our perceptual relation the thing of common ‎sense (as logically reconstructed by Russell) can usefully be viewed as a limited sort of naïve realism. ‎‎(5) The period after 1927: the thing of common sense no longer features in Russell’s account of our ‎perceptual access to the world. The things we perceive are percepts, located in our private spaces. The ‎only material objects of which these percepts are parts are our brains. All other material objects are ‎beyond our perceptual reach and are accessible only via inference. This is the end of anything ‎resembling the traditional view of naïve realism in Russell’s account of perception. ‎. (shrink)

Yong Huang presents criticisms of Neo-Aristotelian meta-ethical naturalism and argues Zhu Xi’s Neo-Confucian approach is superior in defending moral realism. After presenting Huang’s criticisms of the Aristotelian metaethical naturalist picture, such as that of Rosalind Hursthouse, I argue that Huang’s own views succumb to the same criticisms. His metaethics does not avoid an allegedly problematic ‘gap,’ whether ontological or conceptual, between possessing a human nature and exemplifying moral goodness. This ontological gap exists in virtue of the fact that it (...) is possible for there to be bad people, and the conceptual gap exists in virtue of the fact that people are not ‘good’ (in that sense of being a good agent) merely because they are human. Aristotelians and Confucians both should reject that such gaps are problematic. I conclude by proposing that Huang is better understood as criticizing the Aristotelian move from scientific-empirical facts about human nature to the objective prescriptivity of moral norms. But so too I argue that Confucians should not follow Huang here either. There is good scientific evidence that would be supportive of a Confucian analysis of social virtues and provide one way of responding to those worries about the scientific-empirical accessibility of facts about the good life. (shrink)

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...) upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

When one tries to determine what the iconic dimension of thought consists in for Peirce and what its range is, one might have the impression that his remarks on this matter are inconsistent. For instance, on the one hand he writes the following: Remember it is by icons only that we really reason, and abstract statements are valueless in reasoning except so far as they aid us to construct diagrams. The sectaries of the opinion I am combating seem, on the (...) contrary, to suppose that reasoning is performed with abstract "judgments," and that an icon is of use only as enabling me to frame abstract statements as premisses. In an apparently similar fashion, Peirce argues that the predicate of a... (shrink)

Gregory Currie, arguing against recent psychoanalytic and semiotic film theory, has defended various realist theses about film. The strongest of these is that ‘weak illusionism’—the view that the motion of film images is an illusion—is false. That is, Currie believes film images really do move. In this paper I defend the common-sense position of weak illusionism, firstly by showing that Currie underestimates the power of some arguments for it, especially one based on the mechanics of projection, and secondly by showing (...) that film images exhibit neither garden-variety motion, nor a special response-dependent kind. (shrink)

Those working within the tradition of Humean psychology tend to mark a clear distinction between beliefs and desires. One prominent way of elucidating this distinction is to describe them as having different “directions of fit” with respect to the world. After first giving a brief overview of the various attempts to carry out this strategy along with their flaws, I argue that the direction of fit metaphor is misleading and ought to be abandoned. It fails to take into account the (...) actual complexity of the roles played by belief and desire and forces us to look for a single, fundamental contrast between these two that is unlikely to be found. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

I show that Wittgenstein's critique of G.H. Hardy's mathematical realism naturally extends to Paul Benacerraf's influential paper, ‘Mathematical Truth’. Wittgenstein accuses Hardy of hastily analogizing mathematical and empirical propositions, thus leading to a picture of mathematical reality that is somehow akin to empirical reality despite the many puzzles this creates. Since Benacerraf relies on that very same analogy to raise problems about mathematical ‘truth’ and the alleged ‘reality’ to which it corresponds, his major argument falls prey to the same (...) critique. The problematic pictures of mathematical reality suggested by Hardy and Benacerraf can be avoided, according to Wittgenstein, by disrupting the analogy that gives rise to them. I show why Tarskian updates to our conception of ‘truth’ discussed by Benacerraf do not answer Wittgenstein's concerns. That is, because they merely presuppose what Wittgenstein puts into question, namely, the essential uniformity of ‘truth’ and ‘proposition’ in ordinary discourse. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

A pair of spin-j particles, prepared in a singlet state, move away from each other and are examined by two distant observers. If the latter are able to discriminate between the2j+1 values of a component ofJ, there are pairs of observables whose correlation strongly violates Bell's inequality, for arbitrarily large j. However, if neighboring values are lumped together because of limited instrumental resolution, the observable correlations tend to those predicted by classical mechanics.

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

This book takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. This book examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries, and auteurist-realist cinema. Moving across and beyond critical and industrial categories that inform thinking about cinema, it contends that (...) different approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations. (shrink)

This volume collects some influential essays in which Simon Blackburn, one of our leading philosophers, explores one of the most profound and fertile of philosophical problems: the way in which our judgments relate to the world. This debate has centered on realism, or the view that what we say is validated by the way things stand in the world, and a variety of oppositions to it. Prominent among the latter are expressive and projective theories, but also a relaxed pluralism (...) that discourages the view that there are substantial issues at stake. The figure of the "quasi-realist" dramatizes the difficulty of conducting these debates. Typically philosophers thinking of themselves as realists will believe that they alone can give a proper or literal account of some of our attachments--to truth, to facts, to the independent world, to knowledge and certainty. The quasi-realist challenge, developed by Blackburn in this volume, is that we can have those attachments without any metaphysic that deserves to be called realism, so that the metaphysical picture that goes with our practices is quite idle. The cases treated here include the theories of value and knowledge, modality, probability, causation, intentionality and rule-following, and explanation. A substantial new introduction has been added, drawing together some of the central themes. The essays articulate a fresh alternative to a primitive realist/anti-realist opposition, and their cumulative effect is to yield a new appreciation of the delicacy of the debate in these central areas. (shrink)

In 2016, the Five Stars Movement (5SM), one of the parties currently in power in Italy, launched the ‘Rousseau platform’. This is a platform meant to enhance direct democracy, transparency and the real participation of the people in the making of laws, policies and political proposals. Although ennobled with the name of Rousseau, the 5SM’s redemptive promise has been strongly criticised in the public sphere for being irresponsible and ideological. Political realism, I will argue, can perform both a diagnostic (...) and a corrective task, by providing some tools to unveil populist distortions and by offering more solid grounds for political opponents’ critique. Three aspects of realism, in particular, will be pointed out as remedies against populist drifts. First, anti-moralism, complemented by anti-utopianism and contextualism, criticises the populists’ moralistic picture of politics, its anti-pluralistic attitude and its rejection of the role of experts in politics. Second, the Weberian ethic of responsibility offers standards to assess politicians’ actions, instead of embracing the populist aversion towards any professional politician; besides, it contrasts the populist image of politics as a derogatory activity. Finally, realism as ideology critique unveils the distorting narratives underlying populist propaganda and fostering uncritical support. (shrink)

Moral distress is a phenomenon that has been receiving increasing attention in nursing and other health care disciplines. Moral distress is a concept that entered the nursing literature – and subsequently the health care ethics lexicon – in 1984 as a result of the work done by American philosopher and bioethicist Andrew Jameton. Over the past decade, research into moral distress has extended beyond the profession of nursing as other health care disciplines have come to question the impact of moral (...) constraint on individual practitioners, professional practice, and patient outcomes. Along with increased interest in the phenomenon of moral distress have come increasing critiques – critiques that in their essence point to a serious lack of conceptual clarity in the definition, study, and application of the concept. Foundational to gaining conceptual clarity in moral distress in order to develop strategies to prevent and ameliorate the experience is a careful revisiting of the epistemological assumptions underpinning our knowledge and use of the concept of moral distress. It is our contention that the conceptual challenges reveal flaws in the original understanding of moral distress that are based on an epistemological stance that holds a linear conception of cause and effect coupled with a simplistic perspective of ‘constraint’ and ‘agency’. We need a more nuanced approach to our study of moral distress such that our ontological and epistemological stances help us to better appreciate the complexity of moral agents acting in organizational contexts. We believe that critical realism offers such a nuanced approach. (shrink)

A study of the reception and utilization of realism in literature outside of Europe during and after the nineteenth century, the area and period of its prominence, grants us some insight into how theories, practices and cultures travel and change in the process. In particular, it allows us to see how realism has been relativized in such a way as to open up the possibilities of redefinition of the notion and practice and moving beyond them. For these (...) reasons I am undertaking a short survey in this paper of the transculturation, after Fernando Ortiz, of realism in Africa, tracing its genesis from the primary mode of the western novel form to its utilization in anticolonial resistance literature and transmogrification into the magical realism and postmodernism of postcolonial experimental writing. (shrink)

The imminent deployment of autonomous vehicles requires algorithms capable of making moral decisions in relevant traffic situations. Some scholars in the ethics of autonomous vehicles hope to align such intelligent systems with human moral judgment. For this purpose, studies like the Moral Machine Experiment have collected data about human decision-making in trolley-like traffic dilemmas. This paper first argues that the trolley dilemma is an inadequate experimental paradigm for investigating traffic moral judgments because it does not include agents’ character-based considerations and (...) is incapable of facilitating the investigation of low-stakes mundane traffic scenarios. In light of the limitations of the trolley paradigm, this paper presents an alternative experimental framework that addresses these issues. The proposed solution combines the creation of mundane traffic moral scenarios using virtual reality and the Agent-Deed-Consequences (ADC) model of moral judgment as a moral-psychological framework. This paradigm shift potentially increases the ecological validity of future studies by providing more realism and incorporating character considerations into traffic actions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“An Immoderate Taste for Truth”: Censoring History in Baudelaire’s “Les bijoux”E. S. Burt (bio)In May 1949, a French Court of Appeals reversed an 1857 decision condemning six poems from Les fleurs du mal for obscenity, in a signal case of a public lifting of a ban against some lyric poems. 1 Among the several interesting features of this case not the least is the decision to proceed against the (...) work in the first place. For lyric poetry does not appear an attractive target for censorship. Its subject matter and formalism remove it far enough from the experience of most readers that Gustave Flaubert, fresh from his troubles with the court over Madame Bovary, could express his surprise at the government’s attack: “This is new,” he wrote to Baudelaire, “this pursuit of a volume of verse.” While Flaubert’s comment was in point of fact inaccurate, he puts his finger on a problem worth considering. 2 Here we have a work that must seem naturally exempt from state intervention, by virtue of a deliberate retreat from risky political subjects, and it nonetheless did get censored by the state. Can anything be learned about “normal” state censorship from this exceptional case? [End Page 19]A key factor in the government’s decision to pursue the book, according to the prosecutor Pinard, was that these poems would prove accessible to a large audience: 3 “An immoral book that had no chance of being read or understood would not be pursued” [1208], he states. In his argument, as in the judgment by the court that the condemned poems “lead necessarily to the exciting of the senses by a coarse realism offensive to modesty” [1182], the assumption is that the work is extraordinarily available, its pictures immediately referable to ordinary experience. In the six condemned poems, language is judged to be not a veil but a tool, and a sex tool at that. “Despite an effort of style” [1182], the poetic situation—in most of the poems that of the boudoir—is painted in a language insufficiently flowery. 4A further interesting feature in the case is that when it comes up again, under DeGaulle’s Fourth Republic, the court summarily dismisses the 1857 judgment of coarse realism as just one possible interpretation, and a forced one at that. Instead, the 1949 court finds that the poems are self-referential, symbolic entities that do not represent ordinary experience:If some pictures, on account of their originality, were able to alarm some minds upon first publication and appeared to the first judges as offensive to morality, such an appraisal, attaching itself only to a realistic interpretation of the poems and neglecting their symbolic meaning, has proved to be of an arbitrary character, unratified by public opinion or by the judgment of the literary world.[St. John-Stevas 249]The shocking representations of 1857, outraging morality, are now understood to deliver the Wordsworthian “shock of mild surprise” by which we recognize the original work of art. In 1949, the poems are precious artifacts; their language is not realistic but symbolical; its sensuous forms reveal an inner, spiritual meaning.A crucial resemblance can be discerned between the actions taken by the two courts: both make their judgments in terms of a “reading pact,” a set of “artificial rules” [1206] that are presumed to govern reading and to have currency in the context. Les fleurs gets policed in the name of this generic purity, with the prosecutor Pinard calling “the judge... a sentinel who must not let the border be crossed” [1206] and the 1949 decision confirming the opinion of the literary world that the supposed transgression against public morality was in point of fact a transformation in the rules regulating the narrow confines of lyric poetry. 5This concern that texts be framed by a reading pact aimed at constraining their interpretation is worth considering in any discussion of censorship that wants to move from the level of pragmatics to that of theory. It leads to queries about the possibility of getting rid of state censorship entirely and about the state’s interest, as guardian and overseer of the archive, in the institutionalization and... (shrink)

Is there more to the recent surge in political realism than just a debate on how best to continue doing what political theorists are already doing? I use two recent books, by Michael Freeden and Matt Sleat, as a testing ground for realism’s claims about its import on the discipline. I argue that both book take realism beyond the Methodenstreit, though each in a different direction: Freeden’s takes us in the realm of meta-metatheory, Sleat’s is a genuine (...) exercise in grounding liberal normative theory in a non-moralistic way. I conclude with wider methodological observations. I argue that unlike communitarianism (the previous contender for the discipline’s renewal), realism has the potential to open new vistas, though their novelty is to a large extent relative to the last forty years or so: realism is best thought of as a return to a more traditional way of doing political philosophy. (shrink)

Reading fiction for pleasurable is robustly correlated with improved cognitive attainment and other benefits. It is also in decline among young people in developed nations, in part because of competition from moving image fiction. We review existing research on the differences between reading/hearing verbal fiction and watching moving image fiction, as well as looking more broadly at research on image/text interactions and visual versus verbal processing. We conclude that verbal narrative generates more diverse responses than moving image (...) narrative., We note that reading and viewing narrative are different tasks, with different cognitive loads. Viewing moving image narrative mostly involves visual processing with some working memory engagement, whereas reading narrative involves verbal processing, visual imagery and personal memory (Xu et al 2005). but Attempts to compare the two by creating suggest that existing research is flawed by attempts to create equivalent stimuli and task demands face a number of challenges, and we discuss these difficulties in comparative approaches. We then investigate the possibility of identifying lower level processing mechanisms that might distinguish cognition of the two media, and propose a focus on internal scene construction and on working memory as foci for future research. Although many of the sources we draw on are focussed on English speaking participants in European or North American settings, we also cover material relating to speakers of Dutch, German, Hebrew and Japanese in their respective countries, and studies of a remote Turkish mountain community. (shrink)

This paper aims to cast light on the reasons that explain the shift of opinion—from scepticism to realism—concerning the reality of atoms and molecules in the beginning of the twentieth century, in light of Jean Perrin’s theoretical and experimental work on the Brownian movement. The story told has some rather interesting repercussions for the rationality of accepting the reality of explanatory posits. Section 2 presents the key philosophical debate concerning the role and status of explanatory hypotheses c. 1900, focusing (...) on the work of Duhem, Stallo, Ostwald, Poincaré and Boltzmann. Section 3 examines in detail Perrin’s theoretical account of the molecular origins of Brownian motion, reconstructs the structure and explains the strength of Perrin’s argument for the reality of molecules. Section 4 draws three important lessons for the current debate over scientific realism. (shrink)

Why does cinema exert such power over our emotions? Many have wanted to answer by appeal to the idea that film sustains some illusion concerning the events it narrates. I compare three such views: that film sustains the illusion that those events are before us; that it sustains that illusion, but only partially; and that, though viewers are always fully aware of seeing pictures, those pictures are experienced as the moving photographic record of the narrated events. I (...) identify these positions’ successes and failures in explaining film’s emotional power, and various ways in which the issue between them might be tested further. (shrink)

Gibson's ecological approach to depiction is compared with Nelson Goodman's relativist theory of representation. Goodman's commitment to radical relativism and Gibson's to direct realism would make these thinkers unlikely candidates for comparison if Goodman himself had not indicated a substantial body of agreement with Gibson in the area of picture perception. The present study analyzes this agreement through systematic discussion of the following theses: realism in representation is not a function of geometrical optics, physical similarity to what is (...) depicted, or deception; pictures differ in density and articulation from words, so that picturing has no explicit vocabulary; and artists can teach us new ways to see the world. The agreement between Goodman and Gibson has wide-ranging implications for the further development of what might be called a Gibsonian relativism. (shrink)