The aim of this paper is to question the objectivist conception of photography by confronting it with the history – and epistemology – of the painted image. I suggest that the idea of photography as an objective testimony seems to rest upon a phenomenon already described by ancient rhetoric – enargeia, which Cicero latinized into evidentia. Thus the question is raised whether the objectivity of the photographic image is not the mere continuation of an old rhetorical and pictorial tradition about (...) the epistemic-rhetoric evidentia of testimony. Moreover, through the detailed analysis of two paintings by Jan Van Eyck – The Arnolfini Portrait and Léal Souvenir –, I argue that what guarantees an image’s objectivity to the point of its being accepted as evidence ultimately is not the non-subjective mechanical process or the automatic indexical device used to make the photographic image but the image’s built-in pledge of faithfulness which was at the heart of painters’ thoughts long before the invention of photography. (shrink)

“Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...) and different ways of para-textual activation, entitle and unable us to such an operation and to live an aesthetic relation? This issue of “Aisthesis” explores the conditions under which it could be useful to distinguish between aesthetic objects and artworks–visual, musical, literary, performing arts– and to admit that the existence of the latter depends on a marginal and basic component of them: tags. The issue contains articles by Jerrold Levinson, Bernard Sève, Filippo Focosi, Alberto Voltolini, Giulia Alberti, Pietro Kobau, Jean-Pierre Cometti, Isabelle Thomas-Fogiel, Filippo Fimiani, Bertrand Rougé, Leardo Botti, Michel Déguy, Jean-Marie Klinkenberg, Micla Petrelli, Andrea Olivieri, Alessandro Ottaviani. (shrink)

First published in 1937. Routledge is an imprint of Taylor & Francis, an informa company.

While its tone is playful and frivolous, this book poses tough questions over the nature of religion and belief. Religion provides comfortable responses to the questions that have always beset humankind - why are we here, what is the point of being alive, how ought we to behave? Russell snatches that comfort away, leaving us instead with other, more troublesome alternatives: responsibility, autonomy, self-awareness. He tells us that the time to live is now, the place to live is here, and (...) the way to be happy is to ensure others are happy. (shrink)

While its tone is playful and frivolous, this book poses tough questions over the nature of religion and belief. Religion provides comfortable responses to the questions that have always beset humankind - why are we here, what is the point of being alive, how ought we to behave? Russell snatches that comfort away, leaving us instead with other, more troublesome alternatives: responsibility, autonomy, self-awareness. He tells us that the time to live is now, the place to live is here, and (...) the way to be happy is to ensure others are happy. (shrink)

This book, originally entitled _Why Men Fight_, is generally seen as the fullest expression of Russell's political philosophy. Russell argues that after the experience of the Great War the individualistic approach of traditional liberalism has reached its limits. Political theory must be based on the motivated forces of creativity and impulse rather than on competition. Both are best fostered in the family, in education, and in religion - each of which Russell proceeds to discuss. The ideas expressed in _Principles of (...) Social Reconstruction_ have greatly contributed to Russell's fame as a social critic and anti-war activist. The new introduction by Richard Rempel locates them in the context of Russell's other writings and show that neither his ideas nor his language have lost their force and topicality over the years. (shrink)

This book is concerned with methods of curing three kinds of conflict which have afflicted mankind. They are the conflicts of man with nature, with other men, and with himself. Of these, the first is the concern of science, the second of politics, and the third of religion and psychology. Modern techniques have made poverty un-necessary, and have provided the possibility of a much higher level of general wellbeing than has ever existed at any former time. Failure to realize this (...) possibility is due to the persistence of beliefs, principles, emotions, and habits of thought that were appropriate in earlier ages. (shrink)

First published in 1985. Routledge is an imprint of Taylor & Francis, an informa company.

Reprint of: Art of conjecture / Translated from the French by Nikita Lary. -- New York, Basic Books [1967].

The article on my theory of descriptions by Mr. Lejewski raises two points. One is as to the copula. I do not quite understand why it is thought that an ambiguity in the meaning of the word “is” is relevant in regard to my theory of descriptions. There are many problems in regard to which it is relevant. I have mentioned one of these in criticizing Hegel in Our Knowledge of the External World on p. 39 n of the original (...) edition. But, although I have read Mr. Lejewski's argument several times, it still seems to me quite clear that in “Scott is the author of Waverley” the “is” is that of identity. Nor have I been able to understand why he considers his theory of descriptions preferable to mine. I am, however, quite willing to believe that there is some point that I have missed in his discussion. (shrink)

First published in 1985. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1985. Routledge is an imprint of Taylor & Francis, an informa company.

This book is intended for those who have no previous acquaintance with the topics of which it treats, and no more knowledge of mathematics than can be acquired at a primary school or even at Eton. It sets forth in elementary form the logical definition of number, the analysis of the notion of order, the modern doctrine of the infinite, and the theory of descriptions and classes as symbolic fictions. The more controversial and uncertain aspects of the subject are subordinated (...) to those which can by now be regarded as acquired scientific knowledge. These are explained without the use of symbols, but in such a way as to give readers a general understanding of the methods and purposes of mathematical logic, which, it is hoped, will be of interest not only to those who wish to proceed to a more serious study of the subject, but also to that wider circle who feel a desire to know the bearings of this important modern science. (shrink)

This book, originally entitled _Why Men Fight_, is generally seen as the fullest expression of Russell's political philosophy. Russell argues that after the experience of the Great War the individualistic approach of traditional liberalism has reached its limits. Political theory must be based on the motivated forces of creativity and impulse rather than on competition. Both are best fostered in the family, in education, and in religion - each of which Russell proceeds to discuss. The ideas expressed in _Principles of (...) Social Reconstruction_ have greatly contributed to Russell's fame as a social critic and anti-war activist. The new introduction by Richard Rempel locates them in the context of Russell's other writings and show that neither his ideas nor his language have lost their force and topicality over the years. (shrink)