The Roman Marble Sculptures from the Sanctuary of Pan at Caesarea Philippi/Panias. By Elise A. Friedland. American Schools of Oriental Research Archaeological Reports, vol. 17. Boston: American Schools of Oriental Research, 2012. Pp. xiii + 186, illus. $89.95. [Distributed by ISD, Bristol, Conn.].

Inevitável para um mais amplo conhecimento das práticas artísticas setecentistas, analisar a influência exercida pela pintura na concretização de objectos escultóricos afigura-se da maior pertinência. Áreas que se relacionam por via do papel desempenhado pelos pintores no desenho de escultura, se, no panorama internacional, o fenómeno tem despertado algum interesse, já no contexto português, apesar de aceite e até referido como corrente, tem sido praticamente ignorado.

Anthropologists have defined iconatrophy as a process by which oral traditions originate as explanations for objects that, through the passage of time, have ceased to make sense to their viewers. One form of iconatrophy involves the misinterpretation of statues' identities, iconography, or locations. Stories that ultimately derive from such misunderstandings of statues are Monument-Novellen, a term coined by Herodotean studies. Applying the concept of iconatrophy to Greek sculpture of the Archaic and Classical periods yields three possible examples in which statues (...) standing in Greek sanctuaries may have inspired stories cited by authors of the Roman imperial period as explanations for the statues' identities, attributes, poses, or locations. The statues in question are the portrait of the athletic victor Milo of Croton at Olympia, a bronze lioness on the Athenian Acropolis identified as a memorial to the Athenian prostitute Leaina , and the Athena Hygieia near the Propylaia of Mnesikles. Inscriptions on the bases of Archaic and Classical statues in Greek sanctuaries typically named the dedicator, the recipient deity, and the sculptor, but did not include the subject represented or the historical occasion behind the dedication. These “gaps” left by votive inscriptions would only have encouraged the formation of iconatrophic oral traditions such as the examples examined in this article. (shrink)

While Hermann Levin Goldschmidt didn’t read Yiddish anarchists, there seems to have been a convergent evolution in their thinking. Goldschmidt’s looking up to Jewish lore as a source of liberating creativity is commonly encountered in Yiddish anarchist texts. His view of action as a constant response to internal and external challenges in the struggle for an open future is developed by Isaac Nachman Steinberg on the basis of nineteenth-century vitalism. Goldschmidt’s theory of anarchist individualism as willed self-limiting solidarity has a (...) compelling parallel in Hillel Solotaroff’s view of history. His use of impressionism and photography to eternalize the immediacy of human actuality is akin to Rudolf Rocker’s championing of decadent literature. In both cases, the goal of anarchism is not a dictatorship of the former downtrodden, but a continuous and contradictory evolution of freedom in ever-changing contexts. (shrink)

At M. Bernard's I saw several magnificent paintings on porcelain by Monsieur Constantin. In two hundred years, Raphael's frescoes will be known only through Monsieur Constantin.Stendhal, Voyage en France, 1837If we compare the forms that the act of copying has assumed in various civilizations, we cannot fail to notice that a certain number of phenomena are specific to European culture since the Renaissance. Perhaps one of the most singular of these phenomena is the will to create and to possess imperishable (...) reproductions of works that have been singled out, at a given moment, as the brightest jewels of Western art. The history of the fortune of Graeco-Roman sculptures has been masterfully related by Francis Haskell and Nicholas Penny in Taste and the Antique: The Lure of Classical Sculpture 1500-1900, even if it would no doubt be worthwhile to give further consideration to the critical fortune of materials used for reproduction, and particularly to the particular prestige attached to bronze—from the Mantuan works of Antico to the reconstitutions of Greek Urbilder in bronze, instead of the plaster used earlier, which were executed at the beginning of the twentieth century, such as the two Doryphoros that Georg Römer realized from various ancient marble copies of Polyclitus's athlete. But, in fact, it was not only in modern Europe that copies were made in bronze. The production of copies using this alloy was particularly prevalent in imperial China after the rediscovery, in the second half of the eleventh century of our era, of a collection of archaic bronzes from the Shang era. This is why I prefer to call attention to a practice that appears to me, in contrast, to be unique to the Western world: the copying of renowned paintings in materials that are supposed to defy time. (shrink)

This is an extensive review of recent work on the foundations of statistical mechanics.

Cet ouvrage de L.M. trouve son origine dans une dissertation intitulée Globalizing the Sculptural Landscapes of the Sarapis and Isis Cults in Hellenistic and Roman Greece soutenue en 2016 à Duke University. Reprenant le corps de certains articles publiés depuis cette date, l’A. se propose d’explorer les concepts de groupness, self-understanding, self-fashioning et self-location afin de mieux comprendre « how Isiac communities redefined Greek ethnicity for themselves ». Le propos, qui s’inscri...

Обґрунтовано стратегію високочастотної біржової торгівлі (high-frequency trading) акціями. Для цього досліджено особливості та обмеження біржової високочастотної торгівлі, визначено верхню межу прибутку агресивного «шкідливого» високочастотного трейдера, обґрунтовано оптимальну частоту стратегії біржової високочастотної торгівлі акціями, розглянуто емпіричне підтвердження прогнозованості біржових курсів акцій на надкоротких горизонтах інвестування.

According to J=K, only beliefs that qualify as knowledge are epistemically justified. Traditionalists about justification have objected to this view that it predicts that radically deceived subjects do not have justified beliefs, which they take to be counter-intuitive. In response, proponents of J=K have argued that traditionalists mistake being justified with being excused in the relevant cases. To make this response work, Timothy Williamson has offered a dispositional account of excuse which has recently been challenged by Jessica Brown. She has (...) presented cases in which Williamson’s account excuses subjects believing things in an epistemically reckless fashion. To steer clear of Brown’s counterexamples, I argue for a modification of Williamson’s account that employs a more fine-grained notion of the dispositions involved. (shrink)

"Vom Erkennen des literarischen Kunstwerks" ist zuerst (poln. 1937) als erkenntnistheoretisches - und geringfügig populäreres - Pendant zur ontologischen Theorie "Das literarische Kunstwerk" (1931) angelegt. In der deutschen Fassung (Erstpublikation 1968) wird es zum gedankenreichen literaturphilosophischen Alterswerk. Wie schon "Der Streit um die Existenz der Welt" (Erstpublikation 1947/48), so ist auch "Vom Erkennen" als Antwort auf Krieg, Völkermord und Totalitarismen zu lesen, im Sinne des Beharrens auf den Fundamenten der humanen Existenz. Dem "Ende der Ontologie" setzt Roman Ingarden (1893-1970) (...) den Nachweis der Notwendigkeit ontologischer Reflexion bei der Ergründung erkenntnistheoretischer Sachverhalte entgegen (vgl. die 'ästhetische Konkretisation'), der am Wert verzweifelten Nachkriegsliteratur die Erörterung der Werte, Wertqualitäten und ihrer möglichen Synthesen im konkretisierten literarischen Kunstwerk. Gegenüber "Das literarische Kunstwerk" arbeitet er neu die quasi-zeitliche Dimension des literarischen Kunstwerks aus, 'entdeckt' die künstlerischen Funktionen der Unbestimmtheit, bezieht die Lyrik und das Gattungswesen der Literatur ein und analysiert die verschiedenen Erkenntnisziele und -zugänge zum literarischen Kunstwerk. Dem Liebhaber vermittelt das Buch eine Begründung des legitimen Entzückens am ästhetischen Gegenstand, dem Literaturwissenschaftler eine Grundlegung seiner analytischen und funktionellen Erkenntnisoperationen. Ein ausführliches analytisches Inhaltsverzeichnis, ein davon abgeleitetes System von Kolumnentiteln sowie ein Personenverzeichnis erleichtern in dieser neuen Ausgabe die Arbeit mit diesem Buch. (shrink)

In two recent papers Barry Loewer (2001, 2004) has suggested to interpret probabilities in statistical mechanics as Humean chances in David Lewis’ (1994) sense. I first give a precise formulation of this proposal, then raise two fundamental objections, and finally conclude that these can be overcome only at the price of interpreting these probabilities epistemically.

As scientists spend a substantial part of their time building, testing, comparing and revising theories or models, it is no surprise that the nature of theories and models is a subject of central importance within the philosophy of science. This book provides a critical survey of, and introduction to, the debates surrounding theories and models within analytical philosophy of science. It combines coverage of standard topics such as the syntactic and semantic views of theories as well as ones less often (...) discussed in connection with models and theories but which nevertheless are shown to have a clear bearing on the topic, such as Munich structuralism, thought experiments, the applicability of mathematics in the empirical sciences and measurement theory. The book provides a clearly structured and systematic introduction to a field, which, due to its richness and complexity, can be difficult to master. (shrink)

Machine ethics and robot rights are quickly becoming hot topics in artificial intelligence and robotics communities. We will argue that attempts to attribute moral agency and assign rights to all intelligent machines are misguided, whether applied to infrahuman or superhuman AIs, as are proposals to limit the negative effects of AIs by constraining their behavior. As an alternative, we propose a new science of safety engineering for intelligent artificial agents based on maximizing for what humans value. In particular, we challenge (...) the scientific community to develop intelligent systems that have human-friendly values that they provably retain, even under recursive self-improvement. (shrink)

This is a collection of twelve essays, four of which are from the English-speaking world and eight from Poland, home of the phenomenologist Roman Ingarden. Though he has written widely in ontology, epistemology, axiology, logic, and philosophical anthropology, Ingarden is chiefly known, especially in the English-speaking world, for his work in aesthetics. His chief works in this area, The Literary Work of Art and The Cognition of the Literary Work of Art --both appearing in English translation in 1973-established him (...) as a philosopher of literature. But his work in aesthetics extended both to the level of general theory and to the level of the analysis of other aesthetic regions, such as painting, architecture, sculpture, music, and film. (shrink)

This volume is a serious attempt to open up the subject of European philosophy of science to real thought, and provide the structural basis for the interdisciplinary development of its specialist fields, but also to provoke reflection on the idea of ‘European philosophy of science’. This efforts should foster a contemporaneous reflection on what might be meant by philosophy of science in Europe and European philosophy of science, and how in fact awareness of it could assist philosophers interpret and motivate (...) their research through a stronger collective identity. The overarching aim is to set the background for a collaborative project organising, systematising, and ultimately forging an identity for, European philosophy of science by creating research structures and developing research networks across Europe to promote its development. (shrink)

Roman Ingardens frühe Schriften zur Erkenntnistheorie, die hier als Band 6 der von Rolf Fieguth und Guido Küng geleiteten »Gesammelten Werke« vorliegen, umfassen seine Dissertation über »Intuition und Intellekt bei Henri Bergson« und drei andere, zum Teil hier erstmals veröffentlichte Arbeiten aus der Frühperiode des hervorragenden polnischen Phänomenologen. Insgesamt bieten sie ein gutes Bild von dem auch für Ingardens Gesamtwerk sehr wichtigen und bisher nicht gebührend beachteten erkenntnistheoretischen Projekt, mit dem Ingarden in Anknüpfung an Edmund Husserl und andere Phänomenologen, (...) aber auch unter Verwendung eigener origineller Ideen die Möglichkeit einer autonomen Epistemologie nachzuweisen versucht. (shrink)

This paper explores the use of art to recreate violent mythological landscapes in Roman domestic ensembles. Focusing on the Niobids found in two imperial horti it argues that the combination of sculpture and landscape exerted a powerful imaginative effect over ancient viewers, drawing them into the recreated mythological world. Mythological landscape paintings also offered a view out onto a mythological realm, fostering the illusion of direct access to the spaces of myth. However, these fantasy landscapes need to be seen (...) in the light of the associations which natural landscapes held in the Roman imagination. Recreations of mythological landscapes in domestic art express the desire to incorporate the natural world into the domestic sphere but through the presence of violent events they also highlight the inherent powers of those landscapes and the gods who frequent them. They speak to a yearning to immerse oneself in myth and the natural realm, yet also warn of the perils of such a desire. (shrink)

Models are of central importance in many scientific contexts. The centrality of models such as inflationary models in cosmology, general-circulation models of the global climate, the double-helix model of DNA, evolutionary models in biology, agent-based models in the social sciences, and general-equilibrium models of markets in their respective domains is a case in point (the Other Internet Resources section at the end of this entry contains links to online resources that discuss these models). Scientists spend significant amounts of time building, (...) testing, comparing, and revising models, and much journal space is dedicated to interpreting and discussing the implications of models. In short, models are one of the principal instruments of modern science. (shrink)

The volume contains twenty essays devoted to the philosophy of mathematics and the history of logic. They have been divided into four parts: general philosophical problems of mathematics, Hilbert's program vs. the incompleteness phenomenon, philosophy of mathematics in Poland, mathematical logic in Poland. Among considered problems are: epistemology of mathematics, the meaning of the axiomatic method, existence of mathematical objects, distinction between proof and truth, undefinability of truth, Goedel's theorems and computer science, philosophy of mathematics in Polish mathematical and logical (...) schools, beginnings of mathematical logic in Poland, contribution of Polish logicians to recursion theory. (shrink)

The commemorative forms of the Romans are marked by the ubiquity of two contrasting presentational modes: one essentially mimetic, rooted in the representational power of artistic forms, the other abstract and figurative, dependent on the presentation of cues for the summoning of absent yet necessary images. The mimetic mode was thoroughly conventional, and thus posed few problems of interpretation; the figurative knew no such orthodoxy and required a different and distinctive form of attention. At the tomb, epigraphic and sculptural forms, (...) each in its characteristic manner, addressed an audience habituated by tradition to respond to both of these modes, to grasp their differences, and to rise to the challenge implicit in the very fact of their contrast. (shrink)

The Sandal-Binder Aphrodite, a witty variation on Praxiteles’ Aphrodite of Knidos, is one of the most frequently reproduced sculptural types in Greco-Roman art. Created in a variety of materials throughout the Mediterranean, extant versions of this iconography show the goddess in the act of tying (or possibly untying) her sandal. Although a large number of these works of art date between the first and fourth century CE, most studies on the Sandal-Binder have approached it primarily as an expression of (...) Hellenistic Greek artistic trends. The present study shifts our attention away from the cultural milieu of the Sandal-Binder’s creation to that of its reception. Two well-preserved examples—one from a house in Pompeii and the other from London—attest to the process of translating or adapting this sensual image of Aphrodite to a Roman ideological framework. In both cases, it is through the language of body adornment that this transformation is achieved: while the example from Pompeii (a marble statuette adorned with gold paint) shows the goddess wearing contemporary jewelry and clothing, the diminutive silver figurine from London is part of a fashionable hairpin that points to the dissemination of imperial hairstyles in Rome’s remotest province. By calling attention to their design and function, this essay highlights the complex polysemy of Roman Sandal-Binders and the powerful messages they communicated to a diverse audience of viewers both at the heart of the empire and in the provinces. (shrink)

The paper proposes an outline of a reconciliatory approach to the perennial controversy between epistemological realism and anti-realism (constructionism). My main conceptual source in explaining this view is the philosophy of pragmatism, more specifically, the epistemological theories of George H. Mead, John Dewey, and also William James’ radical empiricism. First, the paper analyzes the pragmatic treatment of the goal-directedness of action, especially with regard to Mead’s notion of attitudes, and relates it to certain contemporary epistemological theories provided by the cognitive (...) sciences (Maturana, Rizzolatti, Clark). Against this background, the paper presents a philosophical as well as empirical justification of why we should interpret the environment and its objects in terms of possibilities for action. In Mead’s view, the objects and events of our world emerge within stable patterns of organism-environment interactions, which he called “perspectives”. According to pragmatism as well as the aforementioned cognitive scientists, perception and other cognitive processes include not only neural processes in our heads but also the world itself. Elaborating on Mead’s concept of perspectives, the paper argues in favor of the epistemological position called “constructive realism.”. (shrink)