The philosophical and religious ideas of Simone Weil bear on theory of history and historiography in ways not previously explored. They amount to a view of history as a consequence of the original creation, but they also exclude theodicy. By examining these ideas we see some of the ways in which to develop a theory history centered on a conception of moral understanding that is impartialist and universal. For Weil such understanding is both inside of and outside of history. This (...) leads to an approach to human history that centers on the moral dilemmas and choices of historical actors and that matches the force of compassion with that of power. Under an approach inspired by Weil’s ideas, the historian’s work of understanding can be an experience of moral growth. (shrink)

The paper explores the question of the relationship between the practice of original philosophical inquiry and the study of the history of philosophy. It is written from my point of view as someone starting a research project in the history of philosophy that calls this issue into question, in order to review my starting positions. I argue: first, that any philosopher is sufficiently embedded in culture that her practice is necessarily historical; second, that original work is in fact in part (...) a reconstruction by reinterpretation of the past and that therefore it bears some relation to historiographic techniques for the restoration of damaged objects and texts; and third that the special oddities of the relations of present and past do not fail to ensnare the philosopher, who must restore the past but freely break from it. I describe this relationship as proleptic. Finally, I argue that this is a moral imperative in writing philosophy, derived from the imperative to be honest. (shrink)

A finished sketch for a light-and-shadow projection device by the Paduan mechanical artisan Johannes de Fontana (c.1395–1455), in his manuscript book of drawings now known as Liber Bellicorum Instrumentorum, depicts a machine for communicating ideas or information through spectacle. The manuscript is fairly well known, and this sketch is just one of many interesting images worthy of study in its 70 leaves. A couple dozen manuscripts of the mechanical arts from this period survive, the best-studied of which fall into the (...) “Sienese school” and the “German school.” Fontana falls outside these, for he had far less influence than the Sienese. His work also is too early, it seems, to count in narratives directed toward the flowering of technological illustration in the sixteenth century. Of his images of subjects other than hydraulic and military machines only one deep study has been made, concerning two of the automata, although the present sketch has lately attracted a glance or two. Historians of technology pay scant attention to the first half of the fifteenth century, five decades that seem merely to repeat medieval knowledge and have the disadvantage to their prestige of falling “before Leonardo.” Whether one views Fontana as an engineer or as a science fiction illustrator, a great deal in the manuscript has not been given its due. The brief normative account in the literature so far on Fontana focuses on politics and warfare. My account in the case of his castellus image in this paper emphasizes issues of imagery, communication, subjectivity, moral feeling, spiritual life, and personhood. This account runs along two lines. For the first, I will suggest some untried ideas for approaching this image. In part this is in pursuit of what Jonathan Sawday calls the imaginative history of machines and mechanisms, though more largely it concerns contributing to a broad-range history of communication and persuasion. If we look at the image from our standpoint in aworld accustomed to the reproduction of images, we readily see in it an early step toward our present control of the display and diffusion of images. Fontana’s castle of shadows(castellus umbrarum), based on a worldwide transfer of technical knowledge about imagery in antiquity (and even in pre-history), presents some of the continuing questions driving thereproduction of imagery and the dispersal of information. As a practical matter, a sense ofproximity to Fontana and his time, as opposed to a sense of untranslatable distance, helps to broaden the historiography. My second line of thought is to oppose my account of Fontana’s’s castellus to an interpretation, and to the thinking behind it, that has started to appear on the borders of disciplinary history. This other interpretation reflects an increasingly influential approach to the history of technology and cultural theory that employs a growing and powerful line of philosophical thought. In 2003 Philippe Codognet, a philosopher of technology, published an essay in which he described Fontana’s castle of shadows as a specimen of the pre-historyof virtual reality devices. His reference of the castle of shadows is a bit casual, perhaps accidental in feeling; but it has begun to stimulate interest in Fontana’s striking idea and hasgiven it a bit of renown. Codognet’s view (along with his reproduction of the image) has been picked up by thinkers who are concerned with post-humanistic ideas derived from philosophical work in which the distinction between human persons and objects is deflated in such a way that both persons and objects are correctly characterized by attributes commonly divided into subjective and objective. What’s more, they are characterized by attributes that, under this view, are incorrectly distinguished from one another as the human, the organic, and the inorganic. The ontology supporting this approach denies the privileged epistemological relationship of humans to the world. This school of thought is object-oriented ontology, also known in a more radical form as speculative realism. Its potential influence on historiography is great, and part of it is and will be valuable. Its current actual influence is centered on medieval cultural studies and on the history of technology. (shrink)

Current and recent philosophy of history contemplates a deep change in fundamental notions of the presence of the past. This is called breaking up time. The chief value for this change is enhancing the moral reach of historical research and writing. However, the materialist view of reality that most historians hold cannot support this approach. The origin of the notion in the thought of Walter Benjamin is suggested. I propose a neo-idealist approach called perennialism, centered on recurrent moral dilemmas and (...) choices. This suggests a view of the relations of moral thought and ontology placed in the diachronic context that historians study. (shrink)

The history of ideas is most prominently understood as a highly specialized group of methods for the study of abstract ideas, with both diachronic and synchronic aspects. While theorizing the field has focused on the methods of study, defining the object of study – ideas – has been neglected. But the development of the theories behind material culture studies poses a sharp challenge to these narrow approaches. It both challenges the integrity of the notion of abstract ideas and also offers (...) possibilities for enlarging the scope of the ways in which we can study ideas historically. It is proposed here to regard ideas as mental relations deeply connected to human communication by both thinking and doing. This connection of ideational thought to human production and behavior is a deep foundation for the history of ideas as an interdisciplinary historiographic means of understanding moral life. (shrink)

In 1713 the scientific instrument-maker Jakob Leupold published designs for three machines were the first attempt to design machinery with internal moving parts that replaced human agency in creating original images. This paper first analyzes his text and engravings in order to explain how he proposed to do this, given contemporary materials and command of physical forces. Next, it characterizes the devices as a transition from concepts of incision to concepts of mirroring, taken as models of the history of mechanical (...) reproduction. And finally, Leupold’s replacement of the sighting grid with differential gears points to a set of problems appearing in contemporary philosophy represented in Rococo artistic production of this period as well. Taking the proposed devices in context, they help to theorize the complex notions of creative activity in Rococo visual culture. Taken as an episode in the history of communications, they instance the development of conceptions of personhood and of physical forces at stake in the invention of automated media. (shrink)

The paper explores the question of the relationship between the practice of original philosophical inquiry and the study of the history of philosophy. It is written from my point of view as someone starting a research project in the history of philosophy that calls this issue into question, in order to review my starting positions. I argue: first, that any philosopher is sufficiently embedded in culture that her practice is necessarily historical; second, that original work is in fact in part (...) a reconstruction by reinterpretation of the past and that therefore it bears some relation to historiographic techniques for the restoration of damaged objects and texts; and third that the special oddities of the relations of present and past do not fail to ensnare the philosopher, who must restore the past but freely break from it. I describe this relationship as proleptic. Finally, I argue that this is a moral imperative in writing philosophy, derived from the imperative to be honest. (shrink)

Historical study has traditionally been built around the placement of the human at the center of inquiry. The de-stabilized concepts of the human in contemporary thought challenge this configuration. However, the ways in which these challenges provoke new historical perspectives both expand and enrich historical study but are also weak and vulnerable in their concept of the human, lacking or omitting something valuable in our self-understanding. A Personalist Philosophy of History argues for a robust concept of personhood in our experience (...) of the past as a way to resolve this conflict. -/- Focused on those who know history, rather than on the abstract properties of knowledge, it extends the moral agency of persons into non-human, trans-human, and deep history domains. It describes an approach to moral life through historical experience and study, rather than through abstractions. And it describes a kind of historiography that matches factual accuracy to both the constructed nature of understanding and to unavoidable moral purpose. -/- Table of Contents: Introduction Chapter 1. Receiving the Past Chapter 2. Moral Agency Personalism Chapter 3. Shaping Up Time Chapter 4. The Long Experience of Moral Obligation Chapter 5. From Moral Force Ethics to Personalist Philosophy of History . (shrink)

Plato is known to have given only one public lecture, called "On the Good." We have one highly reliable quotation from Plato himself, stating his doctrine that "the Good is one." The lecture was a set of ideas that existed as an historical event but is now lost--and it dealt with ideas of supreme importance, in brief form, by the greatest of philosophers. Any reading of the lecture is speculative. My approach is philosophical rather than historiographic. The liminal existence of (...) the lecture is taken as an exemplar of the retrieval of what is lost in historical time. Through the lecture-event I examine several major schools of Platonic interpretation--the esotercists of the 1950's, and after, and Hans-Georg Gadamer and the "aporetic" reading--and reject most of it. My method is to establish in tandem an explanation of the lecture doctrine, especially by a reading of issue of normative ethics in the Philebus, and an account of how we are to understand Plato's way of teaching. Plato affirms the existence of the Good itself and was concerned with explaining its relation to persons as moral agents, which includes teaching, amidst the determinants of moral life and in transmission across time. The tension between universal good and plural goods suggests a fruitful relationship between normative ethics and historical theory. I apply this especially to the viability of intellectual history, to material culture studies, and to our understanding of the way in which history "lives." For this I suggest "a moral turn" in historiography in support of cultural theory. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)