본 연구는 데 키리코의 ‘형이상학적 회화(Pittura Metafisica)’에 나타난 니체의 철학적 인간상에 관한 고찰이다. 초현실주의의 선구자인 데 키리코는 니체의 철학을 기반으로 현실과 비현실이 뒤섞인 ‘형이상학적 회화’를 창조한다. 니체의 디오니소스적 정신과 영원회귀, 위버멘쉬는 은유의 방식을 통해 데 키리코 특유의 회화적 형식으로 재탄생한다.BR 데 키리코의 형이상학적 회화의 방식이란 눈에 보이는 표면적 세계 이면에 존재하는 수수께끼와 미스터리를 품은 세계의 발견이자 재현이다. 데 키리코에게 회화의 진리란 이성과 관습을 통한 기억으로부터 멀어지는 방식을 통해 성취될 수 있다. 이것은 원근법의 파괴, 데페이즈망 기법, 마네킹의 형상, 건축적 주제의 반복 (...) 등의 형식을 통해 달성된다. 이는 바로 니체의 철학적 인간상, 즉 영원회귀와 디오니소스적 인간인 위버멘쉬를 함의한 회화적 외침이다. 하나의 진리는 존재하지 않으며 모순적이고 비합리적 상황에 대한 긍정과 자기극복을 형이상학적 회화 속에 함축하고자한 데 키리코의 의지는 바로 힘에의 의지를 포함한다. 니체와 데 키리코의 방식은 논리적 인식에 맞서 진실로 ‘인간이란 무엇인가?’ 진정 ‘삶이란 무엇인가?’라는 인간학적, 존재론적 물음에 대한 성찰이다. (shrink)

This question does not mean: what has a philosopher to learn from paintings? Rather it is: what metaphysical implications can be derived from the consideration of the art of painting? Since, however, this consideration is not a contemplation but a theorizing, we must understand Gilson's question to be: what metaphysical implications can be suggested by a theory about the creative activity of painters and about the kind of entity a painting is?

For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, (...) we are exposed to the insight that “there is also nothingness.” The paper offers a series of transpositions, a series of ways of experiencing visibility and vision found in looking at specific images and paintings. The transpositions expose us to blindness, emptying, gaps, and loss in the happening of the visible, which, in displacing the certainty of rational subjective seeing/consciousness, lead to the quickening of vision and the visible anew. (shrink)

I propose for emotion research a dynamic approach to truth in which folk theories, no matter how much they may be infested with magical thinking and peculiar beliefs, can function as potential competitors and valued interlocutors on the platform of theory construction. For demonstration, I present the ancient Chinese notion of ganlei as a counterpoint to Western metaphysics. Potential contributions of this indigenous belief system to theory and research on emotions include bringing greater clarity to existing concepts of empathy and (...) mind reading and participating meaningfully in the current debates on emotions. More important, ganlei suggests a shift of focus in emotion research from epistemological to ontological categories and from mental representations to intermental transactions. 2012 APA, all rights reserved). (shrink)

In “Sideways Music”, Ned Markosian uses aesthetic intuitions about temporally-rotated music to argue that the metaphysics of time is different from the metaphysics of space. In response, I use aesthetic intuitions about spatially-rotated paintings to pose a dilemma for Markosian’s argument: either he accepts the intuitions about spatially-rotated paintings, in which case he must give up on some assumptions in his argument, or he rejects intuitions about spatially-rotated paintings, in which case an analogous response can be given regarding intuitions about (...) temporally-rotated music. That is, if Markosian wants to hold on to the assumptions that underwrite his argument, then he thereby offers his opponent the resources with which to resist his conclusion. As such, Markosian’s argument cannot offer a new independent consideration for adjudicating the metaphysical debate between the Dynamic Theorist and the Spacetime Theorist. [Unpublishable 2019]. (shrink)

Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted as (...) co-relational rather than as discrete, mutually indifferent or ethnocentrically nativist traditions. (shrink)

This essay examines the role of place in painting. This role is multiple – at once attracting our look but also locatory of whatever is displayed in the painting itself and attracting our attention to it as a place distinct from the place where we are painting it or viewing it. Examined here is also the role of the lived body in the apprehension of place in painting: a corporeal animating force that animates a genuinely lived (...) place as it is set forth or intimated in paintings of seen, remembered, or imagined places. Such placially specific paintings are at once a commentary and a continuation on how we experience places in the context of the lived world. Included are analyses of three placially oriented paintings of my own as well as one by de Kooning – all in an effort to show the multivalence of place in painting. (shrink)

En el presente artículo examino la apropiación platónica del lenguaje poético en República y sostengo que, a pesar de sus críticas a la poesía en los libros 3 y 10, el lenguaje poético está correctamente entrelazado dentro del tejido filosófico para pintar lo corrupto, lo feo y lo inmoral. En términos específicos, la adaptación platónica de diversos motivos poéticos e imágenes en República se vuelve más significativa si prestamos atención a Sócrates como un quasi-pintor en el diálogo e interpretamos sus (...) imágenes filosóficas como una respuesta de la filosofía a las engañosas representaciones dramáticas de la poesía. De este modo, el arte de la pintura que, incluso es criticado en el libro 10 de República, en manos de Platón resulta una herramienta filosófica que le permite investigar la relación de nuestro mundo senso-perceptivo ordinario con el campo metafísico de las Ideas y el lugar de lo humano en él. In this article I examine Plato's appropriation of poetic language in the Republic and argue that, despite his criticism of poetry in Books 3 and 10, poetic language is justifiably weaved into the philosophical fabric to depict the corrupt, the ugly and the base. In specific terms, Plato's adaptation of several poetic motifs and images in the Republic becomes more meaningful if we choose to pay attention to Socrates as a quasi painter in the dialogue and interpret his philosophical images as philosophy's response to the deceptive dramatic representations of poetry. Thus the art of painting, which is also criticised in Republic Book 10, in Plato's hands becomes a philosophical tool which helps him investigate the relation of our mundane sense-perceptive world to the metaphysical realm of the Ideas and humans' place in it. (shrink)

Schelling’s middle period works have always been a source of fascination: they mark a break with the idealism (in both senses of the word) of his early works and the Fichtean and then Hegelian tradition; while they are not weighed down by the reactionary burden of his late lectures on theology and mythology. But they have been equally a source of perplexity. The central work of this period, the Essay on Human Freedom (1809) takes as its topic the moral problem (...) of freedom, but spends much of its time telling a mystical-metaphysical story about the creation of the world that attempts to paint a picture of a kind of irreducible metaphysical contingency in nature. What is the relation between the moral and the metaphysical elements of the Freedom essay? It has never been obvious. But some recent Anglophone scholarship suggests an answer. In her Freedom and Reason in Kant, Schelling and Kierkegaard (2006) Michelle Kosch presents a strong case for the view that Schelling’s Freedom essay is motivated by a critique of Kant’s conception of autonomy in ethics. The idea is that Kant’s problems start not if he fails to show that it is rational to be moral, but if he succeeds. For if he does, then it is irrational to be immoral, and hence it is impossible for a rational agent to act immorally: an act not in conformity with duty is evidence of irrationality (perhaps one’s rational agency has been thwarted by pathological inclinations). This is broadly the Socratic position: evil, as a knowing immoral act, is not possible. Officially Kant rejects the classical view, most explicitly in his 1793 Religion with the Bounds of Mere Reason, for a Christian position in which freedom is understood as the freedom to choose between good and evil without thereby abandoning one’s agency. But he has no obvious means for doing so. Kosch attempts to show that Schelling comes, by 1809, to identify his early work with something like this Kantian dilemma: we are as badly off when it comes to our freedom if we are pushed around by reasons as if we are pushed around by causes: the Hegelian ruse of reason is as inimical to our agency as phenomenal determinism. The Freedom essay is the result of Schelling’s attempt to defend a muscular, Christian conception of the possibility of evil. Nevertheless, for Kosch, Schelling’s move to the metaphysical level is still problematic: just where one would expect an account of norms that does not infer them from our rational autonomy, we get, puzzlingly, a cosmology. I will argue that Kosch’s matrix for interpreting Schelling in fact does give us a way of understanding Schelling’s metaphysics of contingency. In broad outline, Schelling’s argument is that our choice of metaphysical schema is constrained by a correct understanding of agency: the world cannot be causally determined because that is inconsistent with our understanding of ourselves as agents; but equally the world cannot be rationally determined, and for the same reason. Schelling’s metaphysics of contingency is an unpacking of the consequences of this inference, and not a botched attempt to ground values outside of rational autonomy. (shrink)

"With its signal distinction between 'intuition' and 'analysis' and its exploration of the different levels of Duration, _An Introduction to Metaphysics_ has had a significant impact on subsequent twentieth century thought. The arts, from post-impressionist painting to the stream of consciousness novel, and philosophies as diverse as pragmatism, process philosophy, and existentialism bear its imprint. Consigned for a while to the margins of philosophy, Bergson’s thought is making its way back to the mainstream. The reissue of this important work (...) comes at an opportune time, and will be welcomed by teachers and scholars alike." --Peter A. Y. Gunter, University of North Texas. (shrink)

Alberti's Della pittura was the first, and in many ways the most important, of the Renaissance treatises on painting, elaborating as it does the theoretical backgrounds of the influential new art of 15th-century Florence. This edition presents the work with distinction. The translation--the first in English since 1755--is based upon the known manuscript sources, and has been provided with a helpful introduction and notes. Diagrams serve to clarify Alberti's accounts of perspective. --V. C. C.

There is no pretension here of discussing "art in general," or of forcing aesthetic categories on a uniquely "unphilosophic" art. The author, following an inquiry into the existential modes of concrete works of art, skillfully develops solutions to the vexing problems of individuality, identity, and authenticity of paintings. His realistic analysis of the creation of paintings, of their complex causal elements, suggests the conclusion that paintings are not imitations or reflections of nature, but are themselves natural objects. This conclusion necessitates (...) a fundamental distinction between paintings and pictures, and by virtue of this distinction the author seeks to overcome many of the "metapictorial" problems posed by religious and social art and especially by the "abstract" revolution in modern art. His case for modern painting and for its relevance for philosophic inquiry is both penetrating and enlightening.--J. F. D. (shrink)

This paper shows that a careful reading of Laozi’s The Way and Its Power enables one to come up with a metaphysics of awareness. This is done by rejecting those accounts that paint Laozi as a mystic or cosmologist and by arguing for the human-centeredness of his approach. It is shown that three central ideas in Laozi’s work can all be understood as referring to properties of awareness. These three ideas are the Way , return , and non-action . The (...) “Way” refers to awareness itself, “return” refers to the way in which awareness oscillates between activity and stillness, and “non-action” refers to how awareness expresses itself in action. This interpretation fits with the Daoist project of articulating a way of living that brings human existence into harmonious relation to the world. (shrink)

In Tibetan monasteries depictions of eight Indian Buddhist philosophers collectively referred to as the “six ornaments and two supreme ones” are often found. These “six ornaments” are Nāgārjuna, Āryadeva, Asaṅga, Vasubandhu, Dignāga, and Dharmakīrti. These paintings are usually grouped around a central representation of Buddha Śākyamuni. This iconographic set gives a straightforward way of dividing Indian Buddhist philosophical thought into four intellectual streams: Abhidharma, Madhyamaka, Yogācāra and what is often referred to as the epistemological‐logical school of Dignāga and Dharmakīrti. Each (...) of these four schools constitutes a philosophical system of considerable complexity dealing with questions in metaphysics, epistemology, the philosophy of logic and language, ethics, and so forth. (shrink)

Many well-known works in twentieth-century continental aesthetics, such as Martin Heidegger's “Origin of the Work of Art,” Jacques Derrida's The Truth in Painting, Michel Foucault's “Las Meninas,” and the two most influential Frankfurt School texts on aesthetics, Walter Benjamin's optimistic “The Work of Art in the Age of its Technical Reproducibility”1 and Theodor W. Adorno and Max Horkheimer's pessimistic “The Culture Industry: Enlightenment as Mass Deception,”2 treat aesthetics as an occasion for a critique of metaphysics. Hence, it is reasonable (...) to assess these works by reference to whether they retain metaphysical categories, concepts, or methodologies. In this regard, the essays…. (shrink)

I summarize fundamental philosophical principles of the metaphysics of beauty in Arabic, Persian and Turkish thought, literature and culture, beginning with the Quran and hadith. As in Plato, true beauty is thought of as the destination of a journey of inner development, but through a distinctively Islamic series of “worlds.” With examples from literature and painting I show how Islamic philosophy elaborated the key role of imagination in realization of true beauty.

Philosophers have long agreed that thinking is expressed in the use of language, that we “think in the medium of words.” It is also true, however, that we think in the medium of pictures, and it is likely that these two ways of thinking are interrelated; certainly, we could not think in pictures if we did not have words, and perhaps we could not use words, in principle, unless we were also engaged in some sort of picturing, at least in (...) our imagination. An ideographic language like Chinese would give greater support to the latter possibility than would our phonetically based form of writing. (shrink)

Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...) and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (shrink)

René Descartes' Meditations on First Philosophy is his most celebrated philosophical work. The book remains one of the most significant and influential works in epistemology, metaphysics and philosophy of mind in the history of Western philosophy. In this paper I examine the relationship between the various hyperbolic doubts, the dreaming, imperfect creator, and evil demon hypotheses in Meditation I. The paper shows that the "painting analogy" occupies a central position in the First Meditation not only because it effectively links (...) together the hyperbolic doubts, but also because it lays the groundwork for the claim that although it may be impossible for us to know things outside us as our thoughts represent them to be, we can know at least the feature of our thoughts themselves. By raising the necessary doubt about our sensible experience and the corporeal world, the "painting analogy" makes the case for the primacy of the intellectual world. (shrink)

My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph (...) Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways. (shrink)

The aesthetic is present everywhere—in the street, in department stores, movie houses, mountainsides, as in the art gallery, the cathedral, the sacred grove. By universalizing the concept of the aesthetic, modern art has destroyed the barrier that once marked off Beauty and the Sublime as separate realms of being. In the eyes of modern art and modernist aesthetics, anything can legitimately appeal to taste. President Eisenhower, complaining about modern art, said that he had been brought up to believe that art (...) was intended to carry one away from the dangers and unpleasantness of everyday life but that the new paintings reminded him of traffic accidents. A recent statement by Francis Bacon, the celebrated British painter, also mentions traffic accidents. Bacon agrees with Ike that this type of event is not excluded by modern art. But Bacon finds traffic accidents to be a source of beauty. "If you see somebody lying on the pavement with the blood streaming from him," he explains in the catalogue of his exhibition at the Metropolitan Museum in spring 1975, "that is in itself—the color of the blood against the pavement—very invigorating . . . exhilarating. . . . In all the motor accidents I've seen, people strewn across the road, the first thing you think of is the strange beauty." Harold Rosenberg is a professor, poet and art critic for the New Yorker. Among his influential works are The Tradition of the New, The Anxious Object, Artworks and Packages, Act and Actor, The De-Definition of Art, Discovering the Present, and Art on the Edge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image by Thomas PfauThomas ZingelmannPFAU, Thomas. Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image. Notre Dame, Ind.: University of Notre Dame Press, 2022. xxiii + 785 pp. Cloth, $80.00Thomas Pfau reconstructs one of the most traditional and possibly most decisive philosophical debates, [End Page 559] namely, the one about the form and function of appearance (Schein). This debate is taken up (...) on the basis of the concept of image. This means that Pfau concentrates historically as well as systematically on a specific topic within this debate. The book is divided into two major sections.In the first section, Pfau examines how the history of the metaphysics and theology of the image develops, starting with Plato in the first chapter. The basic idea in this section is that the image has a crucial epistemic role in the metaphysical and theological systems of the authors addressed. Here Pfau shows that Plato, at the latest in the Sophist, develops a theory of images that revalues appearance contrary to the assumptions in the Republic. Chapter 1 is about the mediation of unity and multiplicity, as it is also shown in Plotinus. Chapter 2 attempts to show how the Byzantine icon embodies the conviction that the invisible truth of the visual world can be revealed only through images. Pfau's demonstration of various epistemic dimensions of the image then begins with chapter 3: the eschatological vision from Augustine to Bonaventure to Julian of Norwich. Chapter 4, the last of the first section, reconstructs Nicholas of Cusa's position, which attempts to understand mystical visions mediated by images of Christ.The second section examines how the metaphysics of the image—in the sense of an epistemology, which tries to establish ultimate justifications—nevertheless persists and even evolves despite two crucial switches in philosophy. On the one hand, this concerns philosophy that subordinates the visual to the abstract (for example, Hegel) and, on the other, the supposedly nonmetaphysical status of the image in the developing natural sciences. Chapter 5 then attempts to show, through Goethe's botanical investigations and reflections, how, despite the establishment of the natural sciences, Goethe attempts to defend intuition as a scientific method and appearance as a scientific object of investigation. This position is then pursued historically in chapter 6, through the work of Lyell, Darwin, and Ruskin, where the visible is understood as the connecting point of the sciences in general. Gerard Manley Hopkins is then identified in chapter 7 as representing a position that combines theological with proto-phenomenological arguments to highlight the epistemic value of images. The last chapter then deals with decisive developments at the beginning of the twentieth century. In phenomenology (Husserl), painting (Cézanne), and poetry (Rilke), a conception develops that epistemically valorizes sensual and intuitive experience.Generally speaking, Pfau attempts to trace historically what arguments and positions have been developed on the relationship between image and knowledge. His work is based on the conviction that the image is the basis for human orientation in the world and is therefore of great epistemological value. Of outstanding importance for his question is that the epistemological value of images is not to be located in the properties of images, that is, an ontology of the image; rather, Pfau is interested in those positions that reflect on the relationship between knowledge and [End Page 560] experience of images. While clarifying the ontological status of images remains important, the epistemological status of images—what role the experience and usage of images has for humans—is in the foreground. Pfau reconstructs positions that hold that the pictorial is a medium of knowledge. He puts forward the thesis that there is a tradition that is of the opinion that in and through the medium of the image—and this closes the arc to the Schein-debate—being can be experienced by man. In other words, the invisible is to become recognizable through the visible. Of particular importance is his reading of the late Platonic dialogues: While appearance and being are still thought of as distinct in these dialogues, they are not opposed, in the sense of an epistemic opposition. Plato's... (shrink)

Analytic reductivism in metaethics has long been out of philosophical vogue. In Confusion of Tongues: A Theory of Normativity (2014), Stephen Finlay tries to resuscitate it by developing an analytic metaethical reductive naturalistic semantics for ‘good.’ He argues that an end-relational semantics is the simplest account that can explain all of the data concerning the term, and hence the most plausible theory of it. I argue that there are several assumptions that a reductive naturalist would need to make about contextual (...) parameter completion to derive reductive naturalism from an end-relational semantics—assumptions that nonnaturalists might forcefully resist. I also argue for the claim that an end-relational semantics could provide surprising resources for nonnaturalists to address semantic worries about their views—the upshot of which paints the way for a new and sophisticated nonnaturalism about the semantics of moral discourse. Nonnaturalists have long suspected that they need not worry about semantics and this paper lends support to that suspicion. (shrink)

Two hundred years ago, J.M.W. Turner packed up two large leatherbound sketchbooks, pencils, and watercolors and set off for the north of England. When he returned from the tour that he regarded as one of the most important of his career, Turner had completed more than two hundred sketches - works that later became the basis of more than fifty major oil paintings and watercolors. For this illustrated book, David Hill has taken photographs of many of the actual sites Turner (...) sketched on his northern tour. The result is an look at the whole of Turner's creative process, from site to exhibited picture, and at the quality and intensity of the artist's experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Avicenna’s Metaphysics in ContextTaneli KukkonenRobert Wisnovsky. Avicenna’s Metaphysics in Context. Ithaca, NY: Cornell University Press, 2003. Pp. ix + 305. Cloth, $65.00.The challenges facing the contemporary writer on Arabic philosophy are many, but none more daunting than that of striking a satisfying balance between faithfully reproducing what is there in the text (alongside a lineage of likely sources, perhaps), and actively engaging the materials philosophically. From among the (...) current crop of scholars, the more cautious will argue that as long as we lack critical editions of even basic works, and as long as ambiguities remain concerning who was reading what, where, and when, any ambitious statements regarding the substance of Arabic thought, its development, and (especially) what its distinctive contributions might be, must remain hopelessly premature. The counterargument goes that by refusing the philosophically impatient the licence to speculate, at least, about the relevance of the materials at hand—however rough and ready—one will end up stifling just those endeavours the philologist hopes to promote. For without the promise of philosophical rewards, what incentive remains for the thankless and endless task of textual refinement and identification of sources? Strides made in late ancient and Latin medieval scholarship seem to indicate that philosophical curiosity serves to feed historical acuity, rather than hinder it. Yet with the study of Arabic philosophy the perceived opposition between philosophy and philology has led to a precious few works escaping charges of being found lacking either in textual or philosophical sophistication, or indeed both.To this select company one may now add Robert Wisnovsky's aptly titled Avicenna's Metaphysics in Context. The author pursues a particularly deft course of action: honing in on themes for whose evaluation sufficient materials are available, then infusing his exposition at every turn with philosophical insight and a scholar's eye for detail, Wisnovsky demonstrates by example what a resourceful scholar can accomplish in this day and age. Wisnovsky takes it as his task to situate the very doctrines Abû 'Alî Ibn Sînâ (980-1037) is most famous for—the essence-existence distinction, the distinction between contingent and necessary existence, and the created and embodied yet ultimately separable perfection of the human soul—in a continuous line of discussion stretching from Alexander of Aphrodisias to the kalâm theologians of Avicenna's own age.The resulting narrative threads together a dizzying array of thinkers and discussions, showing just how fertile the scholarship ranging from late antiquity to Arabic thought was, both considered in its original setting and in terms of the contemporary scholarly imagination. Among other things, Wisnovsky's book constitutes the fullest study to date of the [End Page 112] evolution of the concepts of final and efficient causality in the increasingly Neoplatonising interpretations of Aristotle. The cosmological and metaphysical motifs behind these developments are rightly pointed out by Wisnovsky, and their impact on Avicenna's metaphysics of the soul and his views on process and return receive thorough attention.In the midst of all this, sight may be lost of Avicenna's original achievement, and it has to be said that Wisnovsky does not play this aspect up by much. But this, the reader suspects, is part of the point. In order to appreciate a thinker's intellectual prowess it is not necessary to insist that he or she be conjuring up concepts out of thin air. A great mind may instead be a synthetic one, one that is able to negotiate between various conceptual schemes and commitments, and this is the picture Wisnovsky paints of Avicenna. Avicenna's deep engagement with the Peripatetic tradition is evident to any scholar, yet it is often difficult to determine exactly whose opinions he references, as contending viewpoints are typically introduced by enigmatic preambles such as "if it is said... " or, "some contend." Wisnovsky's attention to how terminological shifts reflect philosophical ones succeeds in demonstrating Avicenna's reliance in general not only on ancient sources, but on al-Fârâbi and the kalâm as well. His subtle analysis of the development of key Avicennian doctrines simultaneously serves to lend credence to the picture that is currently emerging concerning the... (shrink)

Mac Cumhaill and Wiseman’s book about the formative years of four influential female philosophers is well-researched and timely, appearing shortly after Lipscomb’s (2022) on the same topic. They describe the lives of Elizabeth Anscombe, Philippa Foot, Mary Midgley and Iris Murdoch from 1938 to 1956, that is, from the last pre-war term at Oxford, where all four took a BA, to the term in which Anscombe defended her famous objection to "Mr. Truman’s Degree" at Oxford’s general assembly. Using a wide (...) range of sources, the authors paint a vivid picture of how the war shaped British universities and thereby the philosophical education of these four students. (shrink)

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...) Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)

Purpose: To reawaken the consciousness of all Africans to the implications of the metaphysical trajectory of time in Africa, which John S. Mbiti presents, in relation to personal and collective human development in Africa. Methodology: This work is expository, critical, and evaluative in its methodology. Findings: In Western thought, there is mathematical and linear time, as dominant ideas. Dominant because some philosophers, in particular Bergson, have their notion of time as mainly inclined to be lived, organic. It is linear (...) time in the sense that, it is an imagined line through which the distant past, present and infinite future is figured. Linear time as such does not exist, but it is a metaphysical notion existing in our minds. Linear time is unidirectional and mathematical. In Africa, African Philosophy is still fledgling. That is, it is not fully developed and documented. Consequently, even the field of “time” lacks a robust written commentary. Unique Contribution to theory, practice and policy (recommendation): Within the traditional African milieu, according to Mbiti, time is a two dimensional phenomenon, with a long past, a present and virtually no future. This is contrary to the linear time concept in western thought, with an indefinite past, present and future. This work is expository, analytical and critical in its methodology. The first part of the discussion is concerned with the nature of time (and its constituent elements) as a metaphysical concept. The second part focuses on the ordering of time as found among the Africans. Finally, the third part discusses some of the different activities (in customs and traditions), which point to the future. These include the meaning of life, rites of passage, painting and divination, etc. In the conclusion, a fundamental question is raised regarding, whether or not, the present organization of time, in Africa, as presented by John S. Mbiti, be perpetuated or changed, taking into account the pros and cons it bears. (shrink)

This essay analyses the way in which the relation between surface and depth in modern painting is endowed with philosophical significance in the work of Michel Foucault, Maurice Merleau-Ponty and Michel Henry. Whereas Foucault considered the work of Magritte and Manet to undermine the notion of depth as such, by showing the movement of ‘similitude’, Merleau-Ponty and Henry saw post-impressionist painting as engendering an experience of depth that exceeds the Cartesian model of space as res extensa. The motif (...) of painterly surface thus brings into debate two significant movements in French twentieth-century thought: structuralism and phenomenology; in each case, the engagement with painterly technique becomes a way of grasping broader questions regarding the relation between perceptual experience and linguistic meaning. (shrink)

Examining afresh the 16th-century style of mannerism, Sjoerd van Tuinen synthesises philosophy and aesthetics to demonstrate not only the contemporary relevance of mannerism but its broader significance as a form of modal thinking. Beyond a style of art that spurned the balance and proportion of earlier Renaissance painting in favour of compositional instability and tension, this book looks a-historically at mannerism to investigate what it can tell us about continental modal metaphysics, focusing in particular on its artificial and what (...) Van Tuinen calls 'secondary' nature. In three main parts, Van Tuinen first explores the ontology, aesthetics and ethics of mannerism. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy and contemporary technologies of speculative design. Drawing on Bergson, Simondon, Deleuze, Stengers and Agamben, together with artworks from Lomazzo to Arcimboldo, The Philosophy of Mannerism uncovers the rich new pathways created by the combination of philosophy, art history and contemporary theory. (shrink)

Ernst Haeckel (1834–1919) has become famous, and perhaps infamous, for many reasons. Presently, he is probably most widely-known for his paintings of plants and animals in his very popular book, Art Forms in Nature, originally collected and published in 1904. However, in addition to Haeckel’s art, he is also well-known for his advocacy of Darwinism and Social Darwinism, for first coining the term ‘ecology,’ for having his work utilized by Nazi pseudo-scientists (Dombrowksi in Tech Commun Q 12:303–319, 2003), and for (...) famously (perhaps fraudulently) producing drawings of animal and human embryos so as to confirm his biogenetic law (Gould in Nat Hist 109:44–45, 2000). Something Haeckel is not as well-known for today is the fact that he seemed to be both a strenuous critic of the metaphysical and moral philosophies of Immanuel Kant and yet also something of an adherent to Kant’s aesthetic views. In terms of metaphysics and morality, Haeckel sought to exorcise Kant’s ideas as much as possible from twentieth century views on science, humanity, and nature; however, in terms of aesthetic theory, Haeckel seemed to embrace a distinctly Kantian approach to art and artworks. This essay proposes to: (1) carefully examine Haeckel’s refutations of some of Kant’s central metaphysical concepts, (2) explore some of the, arguably Kantian, assumptions underlying Haeckel’s approach to aesthetics and his artistic practice, and (3) combine these two lines of inquiry into a portrait of Haeckel’s mind as one that is conflicted about the role Kantian philosophy, and more specifically Kantian noumena, should play in twentieth century science and art. This unresolved tension in Haeckel’s mind regarding Kant’s noumenal realm is what I propose to call his ‘Kant Problem’. (shrink)

In Canto XVIII of Paradiso, Dante sees thirty-five letters of Scripture - LOVE JUSTICE, YOU WHO RULE THE EARTH - 'painted' one after the other in the sky. It is an epiphany that encapsulates the Paradiso, staging its ultimate goal - the divine vision. This book offers a fresh, intensive reading of this extraordinary passage at the heart of the third canticle of the Divine Comedy. While adapting in novel ways the methods of the traditional lectura Dantis, William Franke meditates (...) independently on the philosophical, theological, political, ethical, and aesthetic ideas that Dante's text so provocatively projects into a multiplicity of disciplinary contexts. This book demands that we question not only what Dante may have meant by his representations, but also what they mean for us today in the broad horizon of our intellectual traditions and cultural heritage. (shrink)

The essay explores the distinction between two main types of “colour grammar”, or ways of relating to colours: as samples and as features of a three-dimensional, materially heterogeneous and variably lit environment. (Realistic painting may be described as an interface where the two sets of colour concepts meet and conflict.) This duality gives rise to characteristic ambiguities, relating to the concepts of the same colour, real colour, and colour constancy. Hence we must give up the idea of specifying the (...) one relation that always holds between “colour” and “physical properties”. (shrink)

‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a (...) subtle artistic oeuvre. (shrink)

In order to begin constructing a postmodern metaphysics, Ferré argues, it is first necessary to recall how the modern metaphysical worldview emerged and why it needs to be replaced. Since for Ferré the problem with modern thought is its denial that values have objective reality, his survey of the tradition from Thales to the present emphasizes the "value commitments," especially the "standards of cognitive success," embraced explicitly or implicitly by each philosopher. For example, completeness and consistency are thought by (...) some to be paramount; others give more credence to applicability and adequacy. Ferré paints in broad strokes, avoids technical vocabulary as much as possible, and rarely refers to any of the secondary sources that may have informed his thinking. What he has to say is by no means ground-breaking, but it is consistently clear, and that clarity is consistently illuminating. (shrink)

A highly metaphorical, sometimes rather fanciful examination of the nature of space by a practicing artist whose geometric paintings have attracted wide attention.--V. C. C.