. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Are the sparse properties drawn from all the levels of nature, or only the fundamental level? I discuss the notion of sparse property found in Armstrong and Lewis, show that there are tensions in the roles they have assigned the sparse properties, and argue that the sparse properties should be drawn from all the levels of nature.

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

There is a strong pull to the idea that there is some metaphysically interesting distinction between the fully real, objective, observer‐independent qualities of things as they are in themselves, and the less‐than‐fully‐real, subjective, observer‐dependent qualities of things as they are for us. Call this (putative) distinction the primary/secondary quality distinction. The distinction between primary and secondary qualities is philosophically interesting because it is (a) often quite attractive to draw such a distinction, and (b) incredibly hard to spell it out in (...) any kind of satisfying and sensible way. I attempt such a spelling‐out after first trying to pin down in more detail what we want from the primary/secondary quality distinction, and saying a bit about why that is such a hard thing to get. (shrink)