This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the image becomes either “icon” or false appearance. The image in this tradition is a powerful agent and gains as such performative power. From the Bible to Kant and German idealism to Adorno and Deleuze, the prohibition of the image signals (...) its power and turns it into a strong magnet in political aesthetics, may it be affirmative or negative. (shrink)

This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

I discuss the third of Anscombe’s theses from “Modern Moral Philosophy”, namely that post-Sidgwickian consequentialism makes the worst action acceptable. I scrutinize her comprehension of “consequentialism”, her reconstruction of Sidgwick’s view of intention, her defence of casuistry, her reformulation of the double-effect doctrine, and her view of morality as based on Divine commands. I argue that her characterization of consequentialism suffers from lack of understanding of the history of utilitarianism and its self-transformation through the Intuitionism-Utilitarianism controversy; that she uncritically accepted (...) an impoverished image of Kantian ethics and intuitionism, which was, ironically, an unaware bequest from her consequentialist opponents; that her action theory, yet, is a decisive contribution that may prove useful in formulating answers to questions that have been left open in both utilitarian and Kantian or intuitionist theories; that, to make the best of her actions theory, it is as well to drop her divine law view of ethics, which is incompatible with the former; and that the rather obscure traditional theological doctrine of absolute prohibitions is unnecessary to her project that could fare well with the more sober distinction between perfect and imperfect duties. (shrink)

Brouwer’s intuitionism was a far-reaching attempt to reform the foundations of mathematics. While the mathematical community was reluctant to accept Brouwer’s work, its response to later-developed brands of intuitionism, such as those presented by Hermann Weyl and Arend Heyting, was different. The paper accounts for this difference by analyzing the intuitionistic versions of Brouwer, Weyl, and Heyting in light of a two-tiered model of the body and image of mathematical knowledge. Such a perspective provides a richer account of each story (...) and points to a possible connection between the community’s reaction and the changes each mathematician had proposed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to how (...) to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

An idée maîtresse of the New Script (jinwen 今文) commentarial tradition is the notion of Kongzi as the “uncrowned king” (suwang 素王). Detractors of this commentarial tradition, which is based on the Qing Gongyang Commentary (Gongyang zhuan 公羊傳), customarily accuse its practitioners and proponents of doing unconscionable things to the classical texts. This chapter examines the deep exegesis of the jinwen commentarial tradition that revolves around the principal assertion that Kongzi, by rights, should have been the ruler, were it not (...) for inauspicious political circumstances. In order to understand the New Script originary image of Kongzi as the uncrowned king who was preoccupied with and excelled in statecraft, it presents a synthetic view of the main Gongyang discursive notions and contents, which can most systematically be found in He Xiu's 何休 (129‐182 ce) systematic description of the some categories (sanke 三科) and some points (jiuzhi 九旨) of Gongyang thinking. (shrink)

In 2010, Connecticut implemented an offence prohibiting minors from engaging in sexting. This legislation was part of a range of reforms across the United States aiming to better tailor the criminal law’s response to youth sexting by distinguishing sexting from child abuse material. Drawing from submissions to the Connecticut General Assembly’s Sexting Bill, media reports and recent ‘sexting’ cases, this article adopts a feminist perspective and examines the justifications for and implications of this sexting statute. It argues that while aiming (...) to create a distinction between child abuse material and sexting through a ‘lesser’ offence, these paternalistic reforms are informed by some of the same logics shaping child pornography/child abuse material law. Therefore, this statute is situated on a continuum of paternalistic legislation which utilises the constitutive expressive function of the criminal law to register anxieties about young people’s sexual and technological practices. As a result, this statute conflates victims and perpetrators of image based sexual abuses and fails to meet its deterrent and protective aims. (shrink)

Michèle Le Doeuff's "Primal Scene": Prohibition and Confidence in the Education of a Woman My essay begins with Michèle Le Doeuff's singular account of the "primal scene" in her own education as a woman, illustrating a universally significant point about the way in which education can differ for men and women: gender difference both shapes and is shaped by the imaginary of a culture as manifest in how texts matter for Le Doeuff. Her primal scene is the first moment (...) she remembers when, while aspiring to think for herself, a prohibition is placed in her reading of literature. Her philosophyteacher—at a boys' school—told the young Michèle that Kant's Critique of Pure Reason was "too difficult" for her to read. In recalling this scene, the older Michèle—now, a woman philosopher—directs her readers to this text by Kant, in order to demonstrate how knowledge has been constrained by the narrative and imagery in the text of a philosopher; similarly, in the texts of others. She finds the central imagery of Kant's text for setting the limits to human knowledge in his account of "the island of understanding," or "land of truth," surrounded by "a stormy sea" of uncertainty; the latter image also retains a seductive appeal, threatening to destroy the confidence of any knower who ventures out beyond the well-marked out island. Moreover, women have often been associated with the dangers at sea beyond the safety of the island, where falsehood and worse reign. I propose that "text matters" here not only for gender issues, but for the postcolonial theory which Le Doeuff's reading of island imagery enhances in western literature and culture. The suggestion is that women in the history of ideas have been more susceptible than men to prohibitions : women's negative education is against going beyond certain boundaries which have been fixed by a generally colonialist culture on the grounds of gender-hierarchies. I stress the significance of confidence in the production of knowledge. A lack or an inhibition of confidence in one's own ability to think critically risks the damaging exclusions of, for example, colonialism and sexism. My aim is to unearth the political biases evident in textual imagery, while also pointing to new epistemic locations, with island-and-sea imagery that transgresses patriarchal prohibition, liberating subjects for confident reading and writing of texts today. (shrink)

This essay explores the polemics that took place in France in 2001 on the occasion of an exhibition of photographs of Nazi concentration and extermination camps. The article analyzes hostile responses to this exhibition and to its catalogue, written by art historian Georges Didi-Huberman. Condemned for having transgressed an apparent prohibition of the representation of the Holocaust in France, Didi-Huberman responded with a book that tackles the questions of representation in relation to war and trauma. While recognizing the ethical (...) and intellectual merits of Didi-Huberman's response, the essay nonetheless suggests that the French debate, whether it promotes or demotes images of the Holocaust, seems to perpetuate an apocalyptic, allegorical, and sublime reading of Auschwitz. (shrink)

This article examines the artistic potential of forms of image-making that involve registering the features of real objects using mind-independent processes. According to skeptics, these processes limit an agent’s intentional control over the features of the resultant “automatic images,” which in turn limits the artistic potential of the work, and the form as a whole. I argue that this is true only if intentional control is understood to mean that an agent produces the features of the work by their (...) own bodily movements alone. Not only is this an unrealistic standard to uphold, but I show that a definition of intentional control based on the skeptic’s position does not prohibit an agent from realizing the features of an image by means beyond their own actions. An agent can exercise intentional control over the features of an image if they successfully anticipate the effect that the remote consequences of their actions will have on these. This, I argue, entails that to exert intentional control over the features of an image is to exercise “creative agency,” which is a species of executive agency. Consequently, I defend the idea that the origin of automatic images in creative agency grounds their artistic significance. (shrink)

Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to decode our current 'scripts' of image. As we live in an increasingly visual culture, (...) we are constantly confronted with images that seem to exist without a deeper identity or reality - but did this referential character really get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of Platonic philosophy. He then moves to the Augustinian heritage, in particular the Soliloquies, the Confessions and the Trinity, where he finds valuable insights into images and memory. He explores within the trinitarian framework the crossroads of a theology of grace and a theology based on Neoplatonic views. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in late (...) sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

The creation of humanity (Gn 1:26–2:25) marks the climatic point of the creation process because after it, God is said to have rested. A clear marker that humans are the epitome of creation is the fact that they were created in God’s image (Gn 1:26). Unlike animals, humans have the capacity to think, act with free will, exert self-control and also have a conscience. These distinctive characteristics earn humanity not only dominion over creation (Gn 1:28), but also the care towards (...) the created order. The fact of having been created in God’s image, imago Dei, or to be godlike, is therefore associated with certain rights and responsibilities over creation. Further, being created in God’s image implies that human life itself is sacred and thus should not be terminated in any way, either by the individual themself or by any other person(s) (Gn 9:6). Given that human life is so sacred, such a rationale is invoked in the absolute prohibition on murder. Above all, being created in God’s image connotes gender equality – ‘male and female he created them’ (Gn 1:27b). In view of the land reform exercise in Zimbabwe, so much has happened, but the big question which remains is whether women have received a fair share in the land redistribution exercise. Making a womanist contextual reading of Genesis 1:26, this article seeks to reflect on the Zimbabwean land reform exercise, challenging the lack of gender inclusion in the redistribution exercise. Contribution: Given that women theology is that of liberation, empowerment and affirmation, this research makes a unique contribution to women theologies as it pushes for women’s empowerment through fair land redistribution. By tapping into the implications of having been created in God’s image, the research has successfully argued that the current situation, whereby gender gaps in land ownership are still quite large, needs to be addressed as stewardship over creation was given to both men and women. (shrink)

The paper deals with the problem of representation on the background of J. Rancière’s political philosophy, in which he rejects the concept of the unrepresentable. The resolution of the problem follows from the confronting of two conceptions of the unrepresentable: that of the esthetics of the sublime in Kant and Lyotard and of the politics of prohibition in Foucault on one hand and Rancière’s understanding of sharing the perceptible on the other hand. This discussion leads the author to the (...) problem of visuality conceived as a set of visual representations, which in a historically given period are legitimately visible. This definition of visuality returns the representation and the unrepresentable back into the political conception of image. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in late (...) sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

"I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulderof Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. Allthose… moments will be lost… in time. Like… tears… in rain. Time… to die." . With these lines Roy testifies to his memories and to his death, a death that has, in a sense,already taken place, and one that is, by definition, prohibited. While one cannotexperience one’s own death, death is not strictly a limit (...) on the ‘other side’; it comes to usfrom the grave, haunting our lives here and now. If there is a being-towards-death, there isa death-towards-being, and in this interminable aporia, Roy, the ‘replicant’, testifies toDeckard, the ‘human’ – who might himself be a replicant. Roy gives his memories, and doesnot ask for return. He gives, he dies. And he has become immortal, `tears in rain’ havingbecome the film’s signature to which the fans continue to countersign,attesting to Roy’s testimony. Between the signature and countersignature there is aresonance and an affiliation, to the point, as paradoxical as this may seem, where it cannotbe properly distinguished which came first. Did Roy’s signature call for itscountersignature, or did Roy and the film ‘follow’ the fans? Frankly, there is no‘first’ here. This is not a sequential history. This is a story about ‘humanity’–technology. (shrink)

Scenes of violence and incisions into the flesh informeethe demand for law. The scene of little girls being held down in practices of female circumcision has been a defining and definitive image that demands the attention of human rights, and the intervention of law. But the investment in protecting women and little girls from such a cut is not all that it seems.eeLaw's Cuteeon theeeBody of Human Rights: Female Circumcision, TortureeeandeeSacred Flesheeconsiders how such imageseecome to inform laweeand the investment of (...) advocates of law in an imagination of this scene. Drawing on psychoanalytic andeepostcolonialeetheory, and accompanying ideas in political theology, Juliet Rogers examines the language, imagery and excitement that accompanies recenteeinitiatives to legislate against what is called 'female genital mutilation'. The author compliments this examination witheea consideration of the scene of torture exposed in images from Abu Ghraib and Guantanamo Bay.eeRogers argues that the modes ofeefascination and excitement that accompanyeesceneseeof torture and female circumcisioneebetray the fantasy of aeepolitical conditioneeagainst which the subject of liberal law is imagined; this is subjectivityeein aeestate of non-mutilation, non-prohibition or, in a psychoanalytic idiom, non-castration.eeTo support the fantasy of this subject,eethe mutilated subject, the authors suggests, is rendered as flesh cut from the democratic nation state, deserving of only selective human rights, or none at all. (shrink)

The Oration on the Dignity of Man makes a claim, characteristic for the Renaissance, that the dignity of man, the real “excellency of human nature,” is not present in any specific human quality or ability. Neither is it present in the role of the human soul as the “tie of the world”, as Marsilio Ficino has taught. Even higher than this eminent human role in the world is the freedom of man to choose his role and task himself. At the (...) same time, Pico believes that Man was created as the image of God, in the sense that no man is determined in advance: human free will reflects God’s free will in creation. From the point of view of the mainstream modern dualism, this is a paradox, even a contradiction. This paper argues the opposite: that the human free will is even nowadays, not less than in the Renaissance period, compatible with the belief in God. However, this is only the case if God does not command anything, if God does not demand anything – except love. Violence and killing are eo ipso prohibited, especially in the name of faith. Therefore, freedom and faith are perfectly compatible. Even more, modern humans are fatally unfree either in the secular “radicalization” of faith or in the atheistic secularization of the world. Unfree due to their existence, enslaved by the Angst of “mere nothing.”. (shrink)

The purpose of the research is to analyze the context, the essence, and the philosophical implications of Franz Rosenzweig's reconsideration of the ban on idolatry as an implication of pure monotheism. As often as not idolatry is defined generally as the adoration of some images that, representing deity, are considered to be autonomous and hereupon become the objects of worship. The study confines itself to the analysis of the significance of the ban on idolatry in Rosenzweig's interpretation of the (...) concept of difference that underlies his theoretical model of the Other. The consideration proceeds on the general assumption that the encounter of tradition with modernity is the factor that determines the radical change in the philosophies of societies under modernization. In this context, the ancient ban on idolatry means the rejection and prohibition of whatever representation as intricate mediation that is, in turn, the hallmark of modernity. However, according to Rosenzweig, idolatry is not the usage of images as the representations of the reputedly unrepresentable God, but the fixation on one image which would mean the arbitrary limitation of God's infinite freedom to reveal himself visually. This implies that the reconsidered ban on idolatry does not require the absolute prohibition of representation, but the latter should be construed as temporal. Such an approach prevents the identification of the representation of entity with this entity itself, the sign with the thing, and therefore prohibits self-referentiality. Rosenzweig's stance determines also his understanding of familiarity, unfamiliarity, and difference in art and translation. Rosenzweig's emphasis on the shocking influence of the defamiliarizing difference as the feature of the work of art correlates with his interpretation of the translation that should make stable shared senses unfamiliar. Thus, the reconsidered ban on idolatry underlies Rosenzweig's conception of the reconciliation between Jewish tradition and modernity. (shrink)

John Harris criticises the European Parliament’s ‘waft in the direction of human rights and human dignity’ and rejects its suggestion that ‘human cloning violates the principle of equality since “it permits a eugenic and racist selection of the human race”’. He argues that, by parity of reasoning, so too do ‘pre-natal and pre-implantation screening, not to mention egg donation, sperm donation, surrogacy, abortion and human preference in choice of partner’. Conflating the techniques mentioned (ie, human cloning, egg donation, etc) with (...) human preference in choice of a partner, he holds that reproductive liberty must be the operative principle in determining what ought to be prohibited by law in the realm of human reproduction. This article challenges his two problematic assumptions. (shrink)

This book argues that Adorno's writings allow us to address what is arguably the central challenge of modern philosophy: how to picture a world beyond suffering and injustice without betraying its vital impulse. By re-appraising his writings on politics, philosophy, and art, Sebastian Truskolaski reconstructs Adorno's overall project from a radically new perspective. Taking his 'standpoint of redemption' at its starting point, whilst also dealing with his recurrent reference to the Old Testament ban on images, this book brings Adorno's (...) central concerns to bear on debates about Utopia that have come to define political visions across the political spectrum. (shrink)

What makes pictures different from all of the other ways we have of representing things? Why do pictures seem so immediate? What makes a picture realistic or not? Against prevailing wisdom, Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have thought.

Imagism about Phenomenal Thought is (roughly) the view that there is some concept *Q* (for some sensory quality Q) that we can employ only while we experience the quality Q. I believe this view is theoretically significant, is or can be made intuitively appealing, and is explicitly or implicitly accepted by many contemporary philosophers However, there is no good reason to accept it. Or so I argue.

Imagism about Phenomenal Thought is the view that there is some concept Q that we can employ only while we experience the quality Q. I believe this view is theoretically significant, is or can be made intuitively appealing, and is explicitly or implicitly accepted by many contemporary philosophers. However, there is no good reason to accept it. Or so I argue.

The whole human body, the entire motor system including facial expressions and bodily gestures, is subject not just to emotions, but also abstract thought. Meaning, both emotional and cognitive, is grounded within the motor dimension. By implication, no meaningful philosophy of time can neglect the aspect of motor imagery.

This dissertation works out a new approach to understanding what makes a representation pictorial and what makes a representation imagistic. Over the last thirty years, the most common approach to these problems has been to claim that what makes a representation pictorial is that normal perceivers can perceive it in certain ways. By contrast, my approach singles out structural features of representational systems as that which distinguishes pictures from other kinds of representations. Pictorial systems are those that are transparent, relatively (...) syntactically sensitive, relatively replete, and semantically rich. All pictures are images, but the converse relation does not hold because images need not be transparent, though they satisfy the weaker condition of being mimetic. This approach is similar to, but enjoys advantages over, Nelson Goodman's work on the topic. ;The account of what makes a representation pictorial or imagistic is then brought to bear on the imagery debate, which concerns whether the brain implements imagistic systems of representation, specifically in the early stages of perception. A review of what we know about the workings of the visual and auditory systems reveals that no representations in the brain are pictorial, though some are imagistic in quite limited respects. Though they fail to be imagistic in many interesting respects, the early stages of the visual and auditory systems are highly isomorphic to what they represent. ;The role of isomorphism in perceptual states has been much discussed in both philosophy and cognitive neuroscience. The last two chapters of the dissertation argue that perceptual representations of traditionally secondary qualities like colors and sounds are isomorphic to those properties to a lesser degree than representations of traditionally primary qualities like shapes. This distinction in how such properties are represented can affect out intuitions concerning the nature of those properties and the nature of perceptual experience. Furthermore, it is argued that isomorphism is an important feature of perceptual representations because of the role it plays in making information cognitively available. This role for isomorphism is maintained even if one is an information theorist, and therefore thinks that lawful causal generalizations fix the content of representations. (shrink)

In a sex selective abortion, a woman aborts a fetus simply on account of the fetus’ sex. Her motivation or underlying reason for doing so may very well be sexist. She could be disposed to thinking that a female child is inferior to a male one. In a hate crime, an individual commits a crime on account of a victim’s sex, race, sexual orientation or the like. The individual may be sexist or racist in picking his victim. He or she (...) could be disposed to thinking that one race or sex is inferior to another. I argue that while a prohibition on sex selective abortions is anomalous in a liberal, criminal legal framework, hate crime legislation may not be. The former but not the latter constitutes a thought crime. I define a thought crime as one where an agent’s motivation is not just relevant but sufficient to take an act from the domain of the non-punishable to the domain of the punishable. Ignoring a woman’s sexist motivation in procuring an abortion suddenly renders her act of abortion legal. On the other hand, discounting an agent’s bias in committing a hate motivated assault or murder does not transform the act from a punishable one to a non-punishable one. Assaulting or murdering is already a crime. (shrink)

State authorities have taken a variety of measures aimed at combating the COVID-19 pandemic. One group of those measures constitutes restrictions on the freedom of economic activity. In the paper the author analyses the provisions establishing prohibitions on performing specific economic activities introduced in Poland in the period from 14 March 2020 to 31 May 2021 in order to verify whether they have sufficient legal bases. For that purpose it was necessary to establish the constitutional conditions for introducing restrictions on (...) the freedom of economic activity. Subsequently the author verified what legal bases for the implementation of the restrictions were indicated in the legal acts introducing those restrictions and how those prohibitions have been defined. The main research method used for the purpose of the paper is the dogmatic method of analysing the provisions contained in the legal acts. (shrink)

The aim of this article is to present the normative content of article 53 clause 7 of the Constitution of the Republic of Poland of 2nd April 1997. The paper presents the subjective scope of the regulation, including the scope of subjects who enjoy the guarantee of the “right to silence” as well as the list of addressees of the prohibition. The analysis also presents the subjective scope of article 53 paragraph 7 of the Constitution, together with an indication (...) of the legal problems that occur in the practice of law in the context of obligations to respect the “right to silence”. The research includes substantive and formal assessment of the legal provision in question. (shrink)

The difficulty of making reliable interpretation from a dense cloud of unreliable correlations means that the grounds for making a testable or brain-based, theory of intelligence remain very shaky. We briefly discuss the conceptual and methodological problems that arise and suggest one possible alternative interpretation of the data.

I shall argue, first, that potential kidney donors may be subject to harmful pressure to donate. This pressure may take almost any form; people have diverse interests, and anything that could set them back may qualify as pressure. Given features of the context—the high stakes, the involvement of family, and the social meaning of donation—such pressure may be especially harmful. This problem is less tractable than the more familiar worry that pressure may compromise consent. Screening may ensure donors validly consent, (...) but it provides no protection against harmful pressure. I shall argue, second, that the use of such pressure is the predictable consequence of the prohibition on kidney sales. Potential donors have something—a transplantable kidney—that is both valuable and scarce. Many of them, informed about donation, decide against it. Those in need of a transplant may seek to persuade the unwilling. Given the prohibition, the donation cannot be made more attractive in absolute terms by, say, the addition of money. However, it can be made more attractive in relative terms. If declining the option is made worse, then, by comparison, accepting it is made better. The application of harmful pressure has the desired effect. With so much at stake, and no good alternatives, its use is predictable. I conclude that potential donors' interests should figure more prominently in the discussion of transplant policy. Those who defend the prohibition have made virtually no attempt to account for its impact on that group. (shrink)

"A Focus on Images - Sense and Form, an exhibition of selected works from the Permanent Collection with added selections from private collectors, is an occasion to explore a sampling from a variety of artists' images encompassing the 12th century to the present and to reflect upon their importance in human experience. From the mysterious and elegant masks of African tribal arts to the often provocative figurative and abstract wall markings of yesterday's graffitists, artists' images have enjoyed (...) cultural significance quite beyond any apparent contribution to the necessities of day-to- day practical living.". (shrink)

The essay articulates a rhapsodic reflection on the place of images, their surfacing, and the invisible that sustains them. By way of introduction, it focuses on (1) the initial scenes of Pasolini’s Medea (1969). Following this spellbinding sequence, it addresses (2) the abiding philosophical attraction to the phenomenon of dreams and visions. This will lead to (3) the story of a momentous flight from the Eastern Mediterranean to the Western coast of Italy, sometime during the VI century BCE. One (...) of the outcomes of this event was the founding of Velia, Elea in Attic Greek. These meanderings take us to the periphery of the region “we” call “the West.” More precisely, they point to the periphery of a certain received way of thinking and may contribute to unsettle it. For what begins to emerge from this rhapsody is an unusual profile of the most celebrated pre-classical thinker: Parmenides. (shrink)

The article explores two phenomenologies of image consciousness that were formulated by Ingarden and Blaustein, both of whom were students of Husserl. Both philosophers analyze image consciousness in the context of the phenomenon of contemplating a painting. The article is divided into seven sections. Section 1 presents the historical background of Blaustein’s and Ingarden’s explorations. In Section 2, Ingarden’s description of a painting as different from an image is reconstructed. In Section 3, Ingarden’s analysis of Husserl’s image consciousness is discussed. (...) Section 4 concerns Blaustein’s theory of intentionality, which was formulated in a critical elaboration of Husserl’s philosophy. Section 5 discusses the detailed components of Blaustein’s theory of intentionality, i.e., his theory of psychic representations. This theory is then used in Section 6 in an analysis of Blaustein’s reading of § 111 of Husserl’s Ideas I. Section 7 summarizes both theories in order to draw parallels and differences between Ingarden and Blaustein. In this regard, it is argued that both philosophers refer to different theoretical contexts when discussing Husserl’s idea of image consciousness. (shrink)

Can all values be reduced to one or a few fundamental ones? Two values may neither exceed the other in importance nor be equal. In such situation, they cannot be reduced to each other or to a third value, and we can call such values as ”incommensurable”. Drawing on the concept of incommensurable values and what recently is called ”global ethics”, I will argue that if two values from two different cultures conflict, one must pay enough attention to the idea (...) of ”incommensurability of values” in order to avoid a bias judgment of either. I will show how this is the case in the conflict between the Islamic ethics and the secular ethics, examining a specific case: Islamic prohibition on images of Mohammed and the liberalist reverence for freedom of speech. (shrink)

Text-guided image generation models can be prompted to generate images using nonce words adversarially designed to robustly evoke specific visual concepts. Two approaches for such generation are introduced: macaronic prompting, which involves designing cryptic hybrid words by concatenating subword units from different languages; and evocative prompting, which involves designing nonce words whose broad morphological features are similar enough to that of existing words to trigger robust visual associations. The two methods can also be combined to generate images associated (...) with more specific visual concepts. The implications of these techniques for the circumvention of existing approaches to content moderation, and particularly the generation of offensive or harmful images, are discussed. (shrink)

In Ian Brassington’s article in a previous issue of this journal, he argues that suicide for the purpose of avoiding suffering is not, as Kant has contended, contrary to the moral law. Brassington’s objections are not cogent because they rely upon the exegetically incorrect premise that according to Kant the priceless value of personhood is in the noumenal world that we have no perception of. On the basis of Kant’s normative, metaphysical and epistemological theory, I argue, contrary to Brassington, that (...) according to Kant personhood’s moral value is explicitly in the sensible, phenomenal realm. While I argue that suicide solely to avoid suffering is immoral, I show that Kant’s normative system allows some acts of suicide to be morally permissible. In the course of the discussion of the value of humanity’s rationality and the immorality of suicide, I will discuss the broader modern medical ethical implications of Kant’s arguments, such as the moral impermissibility of using rationality depriving drugs, such as ketamine, solely to avoid pain. (shrink)

본고는 딥러닝의 이미지 인식 원리와 유아의 이미지 인식 원리를 종합하면서, 이미지-개념 학습을 위한 새로운 교수학습모델, 즉 “베이지안 구조구성주의 교수학습모델”(Bayesian Structure-constructivist Teaching-learning Model: BSTM)을 제안한다. 달리 말하면, 기계학습 원리와 인간학습 원리를 비교함으로써 얻게 되는 시너지 효과를 바탕으로, 유아들의 이미지-개념 학습을 위한 새로운 교수 모델을 구성하는 것을 목표로 한다. 이런 맥락에서 본고는 전체적으로 3가지 차원에서 논의된다. 첫째, 아동의 이미지 학습에 대한 역사적 중요 이론인 “대상 전체론적 가설”, “분류학적 가설”, “배타적 가설”, “기본 수준 범주 가설” 등을 역사 비판적 관점에서 검토한다. 둘째, 컴퓨터 공학에서 (...) 전개된 머신러닝의 이미지 학습 원리 및 그 구조의 역사적 변형들에 대해서 비판적으로 분석하면서, 특히 딥러닝의 교육 인식론적 의미를 도출한다. 셋째, 선행하는 논의들을 토대로 이미지와 개념을 연결시키는 학습, 즉 단어학습을 위한 필자의 고유한 이론인 구조구성주의 개념교수모델을 제안한다. 이때 필자는 피아제의 명제논리학적 학습 가설, 즉 논리-수학적 구조를 중시하는 기존의 피아제 학파의 학습 가설과 최근의 베이지안 학습 이론에서 강조된 확률론적 추론 가설, 특히 “교육학적 추론 가설”을 동시에 포함할 수 있는 교수학습모델의 구조 및 주요 지향점들을 제안한다. (shrink)