In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 115-132 [Access article in PDF] Schiller's Theory of Landscape Depiction Jason Gaiger This paper offers a critical discussion of the theory of landscape depiction which Friedrich Schiller developed in an important but neglected article on the work of Friedrich Matthisson, published in 1794. 1 The question of the value and status of landscape painting and poetry was far from (...) settled at the end of the eighteenth century, and Schiller's essay should be seen as making an important contribution to an ongoing debate. 2 The second half of the eighteenth century is marked by a profound ambivalence towards the natural world. On the one hand there is a remarkable "rediscovery" of nature, evidenced in such diverse but related phenomena as the vogue for English gardens and the appreciation of wild and "untamed places," such as the Alps and the Herz mountains. It is also the age of "sentiment," embracing a heightened sensitivity to all aspects of the physical world. And yet when we turn to the visual arts, we find landscape painting ranked far below history painting and portraiture. Precedence is given to the representation of human actions and emotions, and the depiction of the human figure remains the highest goal of ambitious art.The modern hierarchy of the genres was first established on a firm theoretical and practical basis with the founding of the French Royal Academy in the seventeenth century. The painter of living animals is ranked higher than the [End Page 115] painter of inanimate nature who depicts "choses mortes et sans mouvement." 3 The painter of human subjects, who imitates "the most perfect work of God," stands higher still. The highest achievement to which the artist can aspire, however, is history painting, the depiction of groups of figures in themes derived from biblical and mythical sources. To achieve this, the artist cannot depict what he sees but must employ both knowledge and imagination. The fundamental opposition here is between painting as a merely imitative or mechanical art, which is addressed to the eye alone, and painting as a work of "invention" or "imagination," which is addressed to the mind. Only the latter constitutes a properly liberal art, entitling the painter to stand alongside the poet as "un auteur ingénieux et savant" over and above the mere artisan or skilled laborer.The great popularity enjoyed by landscape painting in the seventeenth and eighteenth centuries was not met by any comparable elevation in its status as a fine art. Addressing students of the Royal Academy in London in 1770, Joshua Reynolds could continue to dismiss landscape and still-life as the "meaner walks of painting" which require only "mechanical" expertise. 4 For Reynolds the status of painting as a fine art is established through its treatment of the great subjects of history painting, that is, the depiction of human passions and the intellect. Only in tackling such themes does the artist succeed in addressing the imagination, which Reynolds describes as the "great end of art." 5 Although of comparatively recent origin, the genre of "landscape poetry" remained equally problematic and could not easily be reconciled with classicist ideals. New categories seemed to be required to comprehend the work of poets such as Albrecht von Haller and James Thomson, in which the varied and ever-changing aspects of the natural landscape were made the central protagonists of the poetic drama. While traditional forms such as the bucolic, the Arcadian, and the pastoral allowed the depiction of rural existence, the new "descriptive poetry" sought to celebrate the life of nature independently of man's intervening presence: it is nature itself rather than man's relation to nature which is made the poet's primary concern.Schiller's review of the third, expanded edition of Matthisson's poetry appeared in two parts in the Jenaer Allgemeine Literatur-Zeitung, 11-12 September 1794. While the second half of the review is given over to a detailed discussion of Matthisson's poetry, the first part is reserved for an extended theoretical discussion in which Schiller... (shrink)

This paper challenges the widely held assumption that paintings and other works of graphic art have a communicable rhythmic structure. I defend the view that although the experience of viewing a picture takes place in time, and thus is successive, it cannot be temporally structured in a sufficiently determinate manner to sustain the kind of attentional focus required for the communication of even simple rhythmic patterns. With reference to examples of both abstract and figurative painting, I argue that the graphic (...) arts—unlike music and poetry—are non-sequential and that this has important consequences for how a work of graphic art is perceived. In the concluding sections of the paper, I consider some recent empirical research that offers an alternative way of approaching these issues. (shrink)

This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...) philosophical enquiry. CiteULike Connotea Del.icio.us What's this? (shrink)

Drawing on recent attempts to critically reconstruct the ideas of Heinrich Wölfflin, this paper argues that there is a specific ‘logic of depiction’ that is distinctive to visual as opposed to verbal forms of representation. The aim is to provide a set of objective parameters that can allow a comparative analysis of the formal organization of pictures despite differences in period, subject matter, format, etc. The paper seeks to show that such an analysis is possible and that it possesses explanatory (...) force. Its frame is a critical engagement with Richard Wollheim's theory of style. Wollheim holds that general style terms are merely tools of classification and that they are relative to the changing point of view of those who seek to understand the art of the past. However, the critical reconstruction of Wölfflin's fundamental concepts aims to identify necessary conditions for visual representation as such. The fundamental concepts function not as taxonomic categories but as ‘limit concepts’ that demarcate a scale of possibilities and thus enable meaningful comparison of artworks. (shrink)

The emergence of Bildwissenschaft as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft (...) and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image. (shrink)

The book brings together thirteen essays presented to medical and psychiatric societies, mainly during the 1970's and 1980's. In these essays, Gadamer justifies the reasons for a philosophical interest in health and medicine, and a corresponding need for health practitioners to enter into a dialogue with philosophy.

This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...) philosophical enquiry. (shrink)

This reader, a companion to The Open University's four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists. The writings were originally published as freestanding essays or chapters in books, and they reflect the diversity of art historical interpretations and theoretical approaches to twentieth-century art. Accessible to the general reader, this book may be read independently or to supplement the materials explored in the four course texts. The volume includes a general introduction (...) as well as a brief introduction to each piece, outlining its origin and relevance. (shrink)

This paper addresses two key works in the eighteenth‐century debate on the problem of taste: the Abbé Du Bos's Réflexions critiques sur la poésie et sur la peinture and David Hume's ‘Of the Standard of Taste’ . A successful solution to the ‘paradox of taste’ should sustain the democratising impulse behind Du Bos's appeal to the judgment of the ‘public’ whilst, at the same time, acknowledging the role of learning and discovery which underpins Hume's recourse to the opinion of the (...) best qualified critics. This can be achieved, it is argued, by taking up a standpoint which is internal to our actual arguments or disputes about art, drawing upon and recommending a set of practices which allow for the development and revision of our judgments about works of art. (shrink)

This paper addresses two key works in the eighteenth‐century debate on the problem of taste: the Abbé Du Bos's Réflexions critiques sur la poésie et sur la peinture (1719) and David Hume's ‘Of the Standard of Taste’ (1757). A successful solution to the ‘paradox of taste’ should sustain the democratising impulse behind Du Bos's appeal to the judgment of the ‘public’ whilst, at the same time, acknowledging the role of learning and discovery which underpins Hume's recourse to the opinion of (...) the best qualified critics. This can be achieved, it is argued, by taking up a standpoint which is internal to our actual arguments or disputes about art, drawing upon and recommending a set of practices which allow for the development and revision of our judgments about works of art. (shrink)

Art in Theory 1648-1815 provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars.

In this paper, I argue that what counts as the proper function of a trait is a matter of the de facto perspective that the biological system, itself, possesses on what counts as proper functioning for that trait. Unlike non-perspectival accounts, internal perspectivalism does not succumb to generality problems. But unlike external perspectivalism, internal perspectivalism can provide a fully naturalistic, mind-independent grounding of proper function and natural norms. The attribution of perspectives to biological systems is intended to be neither metaphorical (...) nor anthropomorphic: I do not mean to imply that such systems thereby must possess agency, cognition, intentions, concepts, or mental or psychological states. Instead, such systems provide the grounding for norms of performance when they internally enforce their own standard of (i.e., their own perspective on) what constitutes proper functioning or malfunctioning. By operating with a fixed, determinate level of generality, such systems provide the basis for an account of proper function that is immune to generality problems. (shrink)

This book is the first systematic treatment of 'responsibilist' or character-based virtue epistemology, an approach to epistemology that focuses on intellectual ...

Jason Stanley presents a startling and provocative claim about knowledge: that whether or not someone knows a proposition at a given time is in part determined by his or her practical interests, i.e. by how much is at stake for that person at that time. In defending this thesis, Stanley introduces readers to a number of strategies for resolving philosophical paradox, making the book essential not just for specialists in epistemology but for all philosophers interested in philosophical methodology. Since (...) a number of his strategies appeal to linguistic evidence, it will be of great interest to linguists as well. (shrink)

The reimagined Battlestar Galactica series (2003–2009) and its prequel series Caprica (2009–2010) provoked viewers to consider anew perennial philosophical questions regarding, among others, the nature of personhood and the role of religion in culture and politics. While no single philosophical viewpoint encapsulates the creators’ vision as a whole, the theory of biopolitics, as formulated by Michel Foucault, Giorgio Agamben, and others, is a fruitful lens through which various points of story and character development may be analyzed. Two noteworthy areas of (...) attention are, first, whether a race of intelligent, self-aware beings, who have been artificially created, should be considered “persons” with attendant moral and legal status, and second, whether the purported ontological division between the “biological” and the “artificial” has moral import concerning the degree of control one class of beings may legitimately exercise over another. (shrink)

Incompatibilists believe free will is impossible if determinism is true, and they often claim that this view is supported by ordinary intuitions. We challenge the claim that incompatibilism is intuitive to most laypersons and discuss the significance of this challenge to the free will debate. After explaining why incompatibilists should want their view to accord with pretheoretical intuitions, we suggest that determining whether incompatibilism is in fact intuitive calls for empirical testing. We then present the results of our studies, which (...) put significant pressure on the claim that incompatibilism is intuitive. Finally, we consider and respond to several potential objections to our approach. (shrink)

With its focus on intellectual virtues and their role in the acquisition and transmission of knowledge and related epistemic goods, virtue epistemology provides a rich set of tools for educational theory and practice. In particular, characteristics under the rubric of "responsibilist" virtue epistemology, like curiosity, open-mindedness, attentiveness, intellectual courage, and intellectual tenacity, can help educators and students define and attain certain worthy but nebulous educational goals like a love of learning, lifelong learning, and critical thinking. This volume is devoted to (...) exploring the intersection between virtue epistemology and education. It assembles leading virtue epistemologists and philosophers of education to address such questions as: Which virtues are most essential to education? How exactly should these virtues be understood? How is the goal of intellectual character growth related to other educational goals, for example, to critical thinking and knowledge-acquisition? What are the "best practices" for achieving this goal? Can growth in intellectual virtues be measured? The chapters are a prime example of "applied epistemology" and promise to be a seminal contribution to an area of research that is rapidly gaining attention within epistemology and beyond. (shrink)

In De interpretatione 9, Aristotle argues against the fatalist view that if statements about future contingent singular events (e.g. ‘There will be a sea battle tomorrow,’ ‘There will not be a sea battle tomorrow’) are already true or false, then the events to which those statements refer will necessarily occur or necessarily not occur. Scholars have generally held that, to refute this argument, Aristotle allows that future contingent statements are exempt from either the principle of bivalence, or the law of (...) excluded middle. This paper offers a new interpretation of Aristotle’s refutation of fatalism. According to this interpretation, each member of a pair of contradictory future contingent statements, in virtue of expressing modal necessity, is simply false. (shrink)

In the Theological-Political Treatise, published in 1670, Spinoza asked why people “fight for their servitude as if for salvation.” In doing so, he foregrounded the affective dimension of despotism, putting forward the idea that servitude is not just passively endured but passionately strived for—something people want and will. Three hundred years later, Gilles Deleuze and Félix Guattari repeated this formula in Anti-Oedipus, arguing that it was the central question of political philosophy. They read Spinoza through Wilhelm Reich, stating that the (...) astonishing thing is that “those who are exploited are not continually out on strike.” In doing so they shifted the political question from domination to exploitation. Following Deleuze and Guattari, I argue for an updated version of the question, asking why people fight for exploitation as if it were rebellion. Asking this question involves reexamining the way in which the critique of religion is the antechamber of the critique of political economy in Marx, and is the thread connecting Spinoza to Marx. Finally, I argue that reframing the question in terms of rebellion and exploitation is useful in making sense of contemporary forms of right populism that present themselves as rebellion, but actually deepen the domination of capitalism over our lives. (shrink)

Epistemic Contextualism: A Defense By BaumannPeterOxford University Press, 2017. x + 266 pp.

This article examines two questions about scientists’ search for knowledge. First, which search strategies generate discoveries effectively? Second, is it advantageous to diversify search strategies? We argue pace Weisberg and Muldoon, “Epistemic Landscapes and the Division of Cognitive Labor”, that, on the first question, a search strategy that deliberately seeks novel research approaches need not be optimal. On the second question, we argue they have not shown epistemic reasons exist for the division of cognitive labor, identifying the errors that led (...) to their conclusions. Furthermore, we generalize the epistemic landscape model, showing that one should be skeptical about the benefits of social learning in epistemically complex environments. (shrink)

__Deep in Thought_ provides an introduction to intellectual virtues—the personal qualities and character strengths of good thinkers and learners—and outlines a pragmatic approach for teachers to reinforce them in the classroom._ With a combination of theoretical expertise and practical experience, philosopher Jason Baehr endorses intellectual virtues as a rich, meaningful way to think about and understand the purpose of education. He makes a persuasive case for prioritizing intellectual virtues in the classroom to facilitate deeper learning, encourage lifelong learning, and (...) enrich teacher practice. Baehr profiles nine key virtues that enable learners to initiate the process of learning, maintain forward momentum, and overcome common obstacles. With engaging anecdotes and concrete examples, he presents a wealth of principles, postures, and practices that educators can employ in promoting essential habits of mind such as curiosity, open-mindedness, and intellectual courage. Baehr illustrates how opportunities to practice these intellectual habits can be integrated into the classroom in ways that align with current teaching practices. In addition, he shows how educators can adapt these practices to accommodate students’ identities, developmental abilities, and interests. This thought-provoking book supports all educators, especially middle and high school teachers, in teaching for intellectual virtues. _Deep in Thought_ is a philosophical and yet practical guide to one of the most important aims of education: helping students become skilled thinkers and learners. (shrink)