According to Roger Scruton, it is not possible for photographs to be representational art. Most responses to Scruton’s scepticism are versions of the claim that Scruton disregards the extent to which intentionality features in photography; but these cannot force him to give up his notion of the ideal photograph. My approach is to argue that Scruton has misconstrued the role of causation in his discussion of photography. I claim that although Scruton insists that the ideal photograph is defined by its (...) ‘merely causal’ provenance, in fact he fails to take the causal provenance of photographs seriously enough. To replace Scruton’s notion of the ideal photograph, I offer a substantive account of the causal provenance of photographs, centred on the distinctive role of ‘the photographic event’. I conclude that, with a proper understanding of the photographic process, we have good reason to re-open the question of photography as a representational art. (shrink)

We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight what (...) is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

In the Tractatus Logico-Philosophicus Wittgenstein appeals to clarity when he characterises the aim, task and results of philosophy. In this essay I suggest that his ‘picture theory’ of language implies that clarity has aesthetic significance in philosophical work. Wittgenstein claims that the task of philosophy is to make thoughts clear. In the ‘picture theory’ of thought and language, a thought expressed in language is a proposition with a sense and a proposition is a picture of reality. The question I pose (...) is: how should we construe clarity, if making a thought clear is making clear a picture of reality? Following a close analysis of the picture theory, paying particular attention to the notions of depicting, presenting and mirroring, I conclude that the result of philosophical work – the clarification of propositions – will be pleasurable, inexpressible and intrinsically valuable. For these reasons I suggest that the attainment of a clear thought is an aesthetic experience. (shrink)

I examine the relationship between complete analysis and clarificatory analysis and explain why Wittgenstein thought he required both in his account of how to solve the problems of philosophy. I first describe Wittgenstein’s view of how philosophical confusions arise, by explaining how it is possible to misunderstand the logic of everyday language. I argue that any method of logical analysis in the Tractatus will inevitably be circular, but explain why this does not threaten the prospect of solving philosophical problems. I (...) distinguish between complete and clarificatory analysis and argue that Wittgenstein’s ‘strictly correct’ philosophical method is clarificatory analysis. Finally I discuss the relationship between the two forms of analysis and claim that, although, at the time of writing the Tractatus, Wittgenstein believed that the possibility of complete analysis underpins clarificatory analysis, in fact this was a mistake. In the Philosophical Investigations complete analysis is rejected and clarificatory analysis is retained. (shrink)

In both the Tractatus and the Investigations, Wittgenstein claimed that the aim of philosophy is to achieve clarity: to see clearly the logic or grammar of our language. However, his view of clarity underwent an important change, one of many changes that led Wittgenstein to write, in the preface to the Investigations, that his new ideas “could be seen in the right light only by contrast with and against the background of my old way of thinking.” I argue that certain (...) “grave mistakes” of the Tractatus were due to an idealised conception of clarity, and that a revised understanding of clarity is one of the main achievements of the Investigations. In the Tractatus Wittgenstein wrongly assumed that when we see language clearly, what we see will be determinate, exact, and complete. In the Investigations he realised that when we see language clearly we cannot specify in advance whether what we see will be determinate or vague, exact or inexact, complete or incomplete. I characterise this insight as a truism: when we see clearly, what we see might not be clear. Wittgenstein wants the Tractatus to serve as a warning to the reader of the Investigations; his own past mistakes are instructive and this is why we should read the Investigations against the background of his old way of thinking. (shrink)

In this paper I make a comparison between the imaginative activity of reading literature and the elucidatory activity of doing philosophy. My aim is to highlight significant features of a non-traditional view of philosophical method – inspired by Wittgenstein.

I examine a collection of different issues: language-use, authorship, responsibility, persons and first-person self-reference (the use of the term “I”). I begin by explaining why these separate issues have seized my imagination. Then I talk about some connections that I think we can make between the different issues and explain why these connections raise some philosophically interesting questions. I then focus on one specific issue – the question of whether or not an author can deny responsibility for his or her (...) work. (shrink)

An extract from this unpublished article is published in Neill & Ridley (eds.) Arguing about Art (2007).

Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

This study addresses the nature of the contribution made by Christian feminist thinkers who claim that mutuality is a necessary part of a Christian social ethical framework. The theological method employed is analytical and comparative toward the end of illuminating, testing, and demonstrating the thesis: mutuality is a formal norm for Christian social ethics that functions along with love and justice to promote a balance of power that is required for optimum human flourishing, a flourishing set within the interdependent context (...) of the whole of creation. ;Chapter One analyzes selected primary sources of Rosemary Radford Ruether, Carter Heyward, Beverly Wildung Harrison, and Elizabeth A. Johnson isolating their definition and treatment of the term, "mutuality." A consensus definition of mutuality drawn from definitions by the four feminists. It is concluded that, similar to the tripartite nature of justice, mutuality has four forms--cosmic, gender, generative, and social. ;Chapters Two and Three illustrate several moments in the history of Christian thought wherein antecedents of the feminists' notion of mutuality are found. Selected primary works of Thomas Aquinas, John Duns Scotus, Martin Buber, and H. Richard Niebuhr are examined. ;Chapter Four compares the four feminists' definition of mutuality with definitions of formal norm by Josef Fuchs, Lisa Sowle Cahill, and Timothy E. O'Connell, determining that mutuality is a formal norm for Christian social ethics. Chapter Five is a case study. Utilizing our definition, it is shown how consideration of mutuality and its four forms influences the ethical analyses of George Weigel, Jean Bethke Elshtain, and Stanley Hauerwas in determining if the Persian Gulf War was a just war. It is concluded that the probative value of the formal norm, mutuality, is multifaceted. First and foremost, it requires the moral agent to deal concretely in moral reflection and moral decision-making. Specific and careful attention needs to be given to the reality revealing questions in the concrete, as well as in the abstract. Second, mutuality requires the moral agent to probe the dynamics of power in an ethical dilemma and to seek out ways to shape those dynamics to serve power-with. It is a complement to and corrective of love and justice. Third, engaging the norm of mutuality presses the moral agent toward inclusivity drawing into the process of moral reflection concern for the thriving and flourishing of all involved. More than the norms of love and justice, mutuality places humans in a perspective within the whole of creation. (shrink)

Photography is valued as a medium for recording and visually reproducing features of the world. I seek to challenge the view that photography is fundamentally a recording process and that every photograph is a record—a view that I claim is based on a ‘single-stage’ misconception of the process. I propose an alternative, ‘multi-stage’ account in which I argue that causal registration of light is not equivalent to recording and reproducing an image. Intervention or non-intervention by photographers is more sophisticated than (...) the traditional view allows. Using the multi-stage account, I describe four models for producing photographic images and pictures. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different (...) production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology. (shrink)

This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed in defending (...) a single-stage account of photography and I reconfirm that a multi-stage account is correct. (shrink)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that is (...) radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture. (shrink)

The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not a defining (...) feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

Memory researchers have discussed the relationship between consciousness and memory frequently in the last few decades. Beginning with research by Warrington and Weiskrantz (1968; 1970), memory has been shown to influence task performance even without awareness of retrieval. Data from amnesic patients show that a study episode influences task performance despite their lack of conscious memory for the study session. More recently, issues of intentionality, awareness, and the relationship between conscious and unconscious forms of memory have come to the forefront. (...) Conscious memory has sometimes been defined by intention to retrieve and sometimes by awareness of retrieval. This distinction has been debated as measurement methodologies have developed. In addition, the functional relationship between conscious and automatic forms of memory has implications for measurement of memory processes and the development of models of memory task performance. Several measurement techniques for conscious and automatic memory are reviewed. The current state of these issues is also discussed. (shrink)

My thesis is that the say-show distinction is the basis of Ludwig Wittgenstein's conception of philosophy in both the Tractatus Logico-Philosophicus (1921) and the Philosophical Investigations (1953). -/- Wittgenstein said that the Investigations should be read in conjunction with the Tractatus. To understand the Tractatus we must understand the say-show distinction: the principle that "what can be shown, cannot be said". A correct interpretation of Wittgenstein's philosophy will explain the significance of the say-show distinction for the Investigations. I evaluate three (...) available readings of the say-show distinction which fail to meet this challenge. I argue that Wittgenstein's main purpose throughout his career was to replace traditional philosophy with an alternative conception of philosophy, which can only be understood through the say-show distinction. The Tractatus and the Investigations are different attempts to present the same conception of philosophy. I describe how, in both cases, they present a distinctive account of the nature of philosophical problems, the appropriate methods of philosophy, the end result of a philosophical task and the overall aim of philosophy. -/- I argue that my interpretation provides a correct view of the significant continuities and discontinuities between the Tractatus and the Investigations. The failure of the Tractatus was not a flaw in the conception of philosophy presented in it, nor a flaw in the say-show distinction. In the Tractatus, Wittgenstein failed properly to implement his proposed conception of philosophy, as he remained in the grip of traditional philosophical presuppositions. The Investigations presents the same conception of philosophy, but freed from the presuppositions of the Tractatus. The say-show distinction remains the basis of Wittgenstein's conception of philosophy in the Investigations. (shrink)

Current efforts to think holistically about mental disorder may be assisted by considering the integrative strategies used by Hildegard of Bingen, a twelfth-century abbess and healer. We search for integrative strategies in the detailed records of Hilde-gard’s treatment of the noblewoman Sigewiza and in Hildegard’s more general writings. Three strategies support Hildegard’s holistic thinking: the use of narrative approaches to mental illness, acknowledging interdependence between perspectives, and applying principles of balance to the relationships between perspectives. Applying these three strategies to (...) the present-day conceptualization and treatment of mental disorder could move us toward a more thoroughly integrated understanding of the field. (shrink)

Let f be a computable function from finite sequences of 0ʼs and 1ʼs to real numbers. We prove that strong f-randomness implies strong f-randomness relative to a PA-degree. We also prove: if X is strongly f-random and Turing reducible to Y where Y is Martin-Löf random relative to Z, then X is strongly f-random relative to Z. In addition, we prove analogous propagation results for other notions of partial randomness, including non-K-triviality and autocomplexity. We prove that f-randomness relative to a (...) PA-degree implies strong f-randomness, hence f-randomness does not imply f-randomness relative to a PA-degree. (shrink)

The purpose of this special issue and the conference that inspired it was to address the issue of conceptual integration in a science of consciousness. We felt this to be important, for while current efforts to scientifically investigate consciousness are taking place in an interdisciplinary context, it often seems as though the very terms being used to sustain a sense of interdisciplinary cooperation are working against it. This is because it is this very array of common concepts that generates a (...) sense of unity among consciousness researchers, despite the fact the concepts mean different things in different disciplines. These Concepts of Consciousness include the following: realism, representation, intentionality, information, control, memory and self. Given this list, we believed we could best approach the issue of potential conceptual integration by addressing each concept from different perspectives and asking the following: how do uses of the concept differ, must these meanings be synthesized in order for there to be a unified science of consciousness, is a unified conceptual scheme necessary to establish an independent science of consciousness, is a unified conceptual scheme possible, if it is not possible, why not, and if it is possible, what might it look like? To this end we invited, for each concept, two scholars who made extensive use of the identified concept in their work. The papers entailed in this special issue constitute the outcome of this effort, and in what follows we offer a brief examination of possible forms of integration the papers seem to collectively suggest. (shrink)

Previous research with speech and non-speech stimuli suggested that in audiovisual perception, visual information starting prior to the onset of corresponding sound can provide visual cues, and form a prediction about the upcoming auditory sound. This prediction leads to audiovisual interaction. Auditory and visual perception interact and induce suppression and speeding up of the early auditory event-related potentials such as N1 and P2. To investigate AV interaction, previous research examined N1 and P2 amplitudes and latencies in response to audio only, (...) video only, audiovisual, and control stimuli, and compared AV with auditory perception based on four AV interaction models. The current study addresses how different models of AV interaction express N1 and P2 suppression in music perception. Furthermore, the current study took one step further and examined whether previous musical experience, which can potentially lead to higher N1 and P2 amplitudes in auditory perception, influenced AV interaction in different models. Musicians and non-musicians were presented the recordings of a keyboard /C4/ key being played, as well as CO stimuli. Results showed that AV interaction models differ in their expression of N1 and P2 amplitude and latency suppression. The calculation of model and has consequences for the resulting N1 and P2 difference waves. Furthermore, while musicians, compared to non-musicians, showed higher N1 amplitude in auditory perception, suppression of amplitudes and latencies for N1 and P2 was similar for the two groups across the AV models. Collectively, these results suggest that when visual cues from finger and hand movements predict the upcoming sound in AV music perception, suppression of early ERPs is similar for musicians and non-musicians. Notably, the calculation differences across models do not lead to the same pattern of results for N1 and P2, demonstrating that the four models are not interchangeable and are not directly comparable. (shrink)

The purpose of this special issue and the conference that inspired it was to address the issue of conceptual integration in a science of consciousness. We felt this to be important, for while current efforts to scientifically investigate consciousness are taking place in an interdisciplinary context, it often seems as though the very terms being used to sustain a sense of interdisciplinary cooperation are working against it. This is because it is this very array of common concepts that generates a (...) sense of unity among consciousness researchers, despite the fact the concepts mean different things in different disciplines. These Concepts of Consciousness include the following: realism, representation, intentionality, information, control, memory and self. Given this list, we believed we could best approach the issue of potential conceptual integration by addressing each concept from different perspectives and asking the following: how do uses of the concept differ, must these meanings be synthesized in order for there to be a unified science of consciousness, is a unified conceptual scheme necessary to establish an independent science of consciousness, is a unified conceptual scheme possible, if it is not possible, why not, and if it is possible, what might it look like? To this end we invited, for each concept, two scholars who made extensive use of the identified concept in their work. The papers entailed in this special issue constitute the outcome of this effort, and in what follows we offer a brief examination of possible forms of integration the papers seem to collectively suggest. (shrink)

For the conference and the special issue of the_ Journal of Consciousness Studies_ that lie behind this book, pairs of researchers were asked to tackle from different standpoints concepts of consciousness such as realism, representation, intentionality, information, control, memory and the self.

This commentary challenges the argument that the diathesis for hallucinations is equivalent to that for schizophrenia. Evidence against this comes from data on the prevalence of hallucinations in schizophrenia, their nonspecificity, and their relationships with moderating variables. We also highlight, however, the manner in which the Behrendt & Young (B&Y) hypothesis extends recent neuroscientific theories of schizophrenia, and its potential treatment applications.