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 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)

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.

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 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 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)

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)

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.

Our purpose in this article is to identify and suggest resolution for two core problematics of grounded theory. First, while grounded theory provides transparency to one part of the conceptualization process, where codes emerge directly from the data, it provides no such systematic or transparent way for gaining insight into the conceptual relationships between discovered codes. Producing a grounded theory depends not only on the definition of conceptual pieces, but the delineation of a relationship between at least two of those (...) pieces. Second, the conceptualization process of grounded theory is done in hierarchical fashion, where individual codes emerge from the data but then are used to generate insight into more general concepts and thematic statements. But various works on grounded theory have failed to provide any systematic way of using data specific levels of scale (the codes) to gain insight into more macro levels of scale (concepts and themes). We offer fractal concept analysis as a means of resolving both of these issues. By using a logic structure generator, fractal concept analysis delineates self-similar conceptual frameworks at various levels of abstraction, yielding a method for linking concepts together within and between levels of scale encountered in the grounded theory coding and categorization process. We conclude that this fractal analytic technique can bolster the aims of grounded theory as a formalized and systematic process for generating theory from empirical data. (shrink)

This chapter discusses a version of the descriptive account of content which is compatible with rigidity thesis (RT) and critiques of RT. The rigidity of proper names demonstrates that utterances of sentences containing proper names, and utterances of sentences differing from those sentences only in containing non‐rigid descriptions in place of the proper names, differ in content. The fact that natural‐language proper names are rigid designators is an empirical discovery about natural language. The chapter intends to be a survey of (...) both the background and contemporary discussion of this discovery. However, the survey takes place in the context of an evaluation of the extent to which the discovery that English proper names are rigid itself threatens the descriptive picture of the content of names. The goal is to show that the exact philosophical significance of the discovery that natural‐language proper names are rigid designators is still, and should still be, a matter of controversy. (shrink)

This essay assesses the rationale for regulating research administrators as carefully as they regulate researchers. The reasons for such regulation are identical: protecting scientific integrity, ensuring responsible use of public funds, addressing the lack of effective recourse for victims, creating negative consequences for misbehaving actors, and addressing high incentives for misconduct. Whereas the reasons compelling us to regulate research administrators are obvious, counterarguments to administrative oversight are based on suggestions that the incidence and prevalence of cases of administrative misconduct are (...) too low to warrant formal regulation. I briefly describe examples of the phenomenon drawn from publicly available records. My analysis suggests that the misconduct of research administrators is both serious and worthy of better oversight. Improved oversight of research administration will help steward tax dollars appropriately and enhance the overall integrity of the scientific record and of the free pursuit of knowledge more generally. (shrink)

Jason Stanley's "Knowledge and Practical Interests" is a brilliant book, combining insights about knowledge with a careful examination of how recent views in epistemology fit with the best of recent linguistic semantics. Although I am largely convinced by Stanley's objections to epistemic contextualism, I will try in what follows to formulate a version that might have some prospect of escaping his powerful critique.

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

This paper describes the role of information architecture in the design of socially sustainable pervasive information spaces. The framing of information architecture as an essential part of Design Thinking extends current and historic notions of the field of information architecture. The discussion introduces the notion of the ‘contrived ontology’ which can be understood as the intentional meaning that design infuses in its artefacts, services and systems. Further, we argue that contrived ontology aligns with central themes within humanistic frameworks which view (...) reality as subjective construct. This forms the central theoretical meditation herein: we contend that while design is always an act of interpreted cultural determination, at the scale of Floridi’s infosphere, the immediacy and immersive social reality of technology will become frictionless within our human experience. As this occurs, there is a moral and ethical imperative to ensure social sustainability and to this end that the meanings and intentions that inform the mature design of our human-made world are visible and accountable. It is towards this end that information architecture can make a valuable contribution. (shrink)

Simon Keller and Sarah Stroud have both argued that the demands of being a good friend can conflict with the demands of standard epistemic norms. Intuitively, good friends will tend to seek favorable interpretations of their friends’ behaviors, interpretations that they would not apply to strangers; as such they seem prone to form unjustified beliefs. I argue that there is no such clash of norms. In particular, I argue that friendship does not require us to form beliefs about our friends (...) in the biased fashion suggested by Stroud and Keller. I further argue that while some slight bias in belief-formation might be permitted by friendship, any such bias would fall within the bounds of epistemic propriety. (shrink)

Many philosophers believe that there is a fundamental distinction between knowing that something is the case and knowing how to do something. According to Gilbert Ryle, to whom the insight is credited, knowledge-how is an ability, which is in turn a complex of dispositions. Knowledge-that, on the other hand, is not an ability, or anything similar. Rather, knowledge-that is a relation between a thinker and a true proposition.

Unspecific evidence calls for imprecise credence. My aim is to vindicate this thought. First, I will pin down what it is that makes one's imprecise credences more or less epistemically valuable. Then I will use this account of epistemic value to delineate a class of reasonable epistemic scoring rules for imprecise credences. Finally, I will show that if we plump for one of these scoring rules as our measure of epistemic value or utility, then a popular family of decision rules (...) recommends imprecise credences. In particular, a range of Hurwicz criteria, which generalise the Maximin decision rule, recommend imprecise credences. If correct, the moral is this: an agent who adopts precise credences, rather than imprecise ones, in the face of unspecific and incomplete evidence, goes wrong by gambling with the epistemic utility of her doxastic state in too risky a fashion. Precise credences represent an overly risky epistemic bet, according to the Hurwicz criteria. (shrink)

Retroduction -- Contextualized self-interpretations -- Causal mechanisms -- Ontology -- Logics -- Articulation.

According to accuracy-first epistemology, accuracy is the fundamental epistemic good. Epistemic norms — Probabilism, Conditionalization, the Principal Principle, etc. — have their binding force in virtue of helping to secure this good. To make this idea precise, accuracy-firsters invoke Epistemic Decision Theory (EpDT) to determine which epistemic policies are the best means toward the end of accuracy. Hilary Greaves and others have recently challenged the tenability of this programme. Their arguments purport to show that EpDT encourages obviously epistemically irrational behavior. (...) We develop firmer conceptual foundations for EpDT. First, we detail a theory of praxic and epistemic good. Then we show that, in light of their very different good-making features, EpDT will evaluate epistemic states and epistemic acts according to different criteria. So, in general, rational preference over states and acts won’t agree. Finally, we argue that based on direction-of-fit considerations, it’s preferences over the former that matter for normative epistemology, and that EpDT, properly spelt out, arrives at the correct verdicts in a range of putative problem cases. (shrink)

Induced by intake of the psychedelic substances LSD, psilocybin, DMT and mescaline, psychedelic experiences have been extensively described by subjects as entailing a most unusual increase in the scope and quality of their consciousness. Accordingly, psychedelic experiences have been widely characterised as an “expansion of consciousness.” This article poses the following question, as yet unaddressed in contemporary philosophy and the tradition of phenomenology: to what exactly does “expansion of consciousness” refer as a general characterisation of psychedelic experiences, and what role (...) might attention play therein? On the basis of Aron Gurwitsch’s phenomenology of attention, the following thesis is presented: (a) “expansion of consciousness” refers to a particular restructuration of consciousness in psychedelic experiences. (b) This occurs by means of certain extreme transformations in direction, scope, mode and degree of attention. In order to explicate this thesis, the characteristic features of psychedelic experiences that pertain to expansion of consciousness and attention are first systematically identified from a survey of subject reports. Second, it is demonstrated that the few previous attempts to understand expansion of consciousness in terms of attention as a filter/reducing-valve, spotlight or zoom-lens each fail to explain how consciousness is structured in psychedelic experiences. Third, it is argued that psychedelic expansion of consciousness is a general restructuration of consciousness by means of extreme attentional transformations. In conclusion, brief consideration is given to the question of whether psychedelic expansion of consciousness can have epistemic and ethical value for life. (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)

Philosophers have long been tempted by the idea that objects and properties are abstractions from the facts. But how is this abstraction supposed to go? If the objects and properties aren't 'already' there, how do the facts give rise to them? Jason Turner develops and defends a novel answer to this question: The facts are arranged in a quasi-geometric 'logical space', and objects and properties arise from different quasi-geometric structures in this space.