Perceived slope varies with the viewing distance, and is consistent with the effects of foreshortening. Distant viewing makes uphill slopes appear steeper and downhill slopes flatter than does near viewing. These effects are obvious to skiers and climbers in mountainous country. They have also been measured in outdoor experiments with controlled viewing distances. There are many other sources of slope illusions.

The increasingly foreshortening of bioethics known as narrative and even literary bioethics is analyzed in article. This analysis is realized on the material of Rudyard Kipling’s story «The miracle of Purun Bhagat». Deconstruction in its ethical aspect comes out in this case as method of the overcoming of logocentrism and becomes radicalization of ethics. The talk is about consideration of bioethics not simply as the science of survival but as radical ethics of the salvation of life. The text of (...) the story is interpreted as pharrmacon, remedy, sure remedy for human consciousness, society and nature. The result of the analysis is the idea of the consideration of conservative bioethics as radical ethics of salvation and science about spiritual-moral essence of human. This essence is consciousness, which is always moral consciousness in contradiction to intellect deprivated of moral dimension and leading humankind on the way of catastrophic progress to transhumanistic, posthuman future. (shrink)

In a case-history, Ben, a university-graduate blind adult, is shown to draw a cube as if it were folded out, but with slim rectangles for the sides around a central square. This form is drawn by sighted 8-year-olds. It might involve foreshortening and parallel projection, despite the presence of more sides than would be present in parallel projection in a single direction. Also, Ben drew a glass’s brim as both a straight line and as an ellipse, a form common (...) in drawings by sighted 8-year-olds that may include the circular brim foreshortened to an ellipse in a ¾ view. In several drawings made later in the testing session Ben only showed aspects of the depicted object facing one direction. In elevation and plan drawings, he showed aspects facing to the side of the object or above the object. Also, Ben’s use of foreshortening advanced in sophistication in the testing session. We hypothesize that the blind and the sighted are on the same drawing developmental trajectory. (shrink)

We are currently seeing dramatic changes in the ways we imagine and experience time. Permanent debt, unending violent conflict, climate change, economic instability, and widening social inequalities have led to suggestions that we are now living in the time of the 'end times'. In the shadow of a foreshortened future, the present is increasingly experienced as a form of 'non-stop inertia', resulting in experiences of time as both frenetic but also stuck - revving up, as Ivor Southwood puts it, to (...) go nowhere. So, where do we go and how when all options seem to have run their course and time is no longer moving forward? Enduring Time proposes some alternative relations of time which provide hopeful alternatives to the dominating models of oppression, limitation and exploitation. A strikingly original philosophy of time which also provides students and scholars with a rigorous and detailed survey of contemporary theories of time, Enduring Time is an indispensable read for those attempting to live meaningfully in the current age. (shrink)

This article attempts to show that Heidegger’s phenomenology may shed light on political phenomena. It pursues this project by arguing that Heidegger’s phenomenology is an appropriation of Aristotle’s practical philosophy and his conceptualization of phronesis. I argue that, in Being and Time, Heidegger’s ‘circumspection’, which is a capacity for making sense of practical situations, is a translation of phronesis. Heidegger argues, though, that the sight of circumspection is foreshortened by the rules and norms of ‘the one’. In division 2, ‘conscience’ (...) becomes a sharpening of the vision of phronesis, which sees through the one. I then defend Heidegger’s appropriation of phronesis and argue that Heidegger’s concept of conscience, which takes up a critical stance toward plurality, may actually be a proper vision of practical wisdom under modern conditions. I substantiate this claim by turning to an unlikely source to bolster Heidegger’s reading of phronesis and the modern public, Hannah Arendt. (shrink)

Philosophy in the 20th century witnessed a schism between so called ‘analytic’ and ‘continental’ schools of philosophy. One of the aims of the IJPS from its inception was to provide a space for articles attempting to overcome, or at least foreshorten, that divide. This paper critically examines the various understandings of the divide and takes a quick glance at some of the attempts to bridge it.

Despite considerable recent attention, important features of Schelling’s famous work, the 1809 treatise On the Essence of Human Freedom, remain under-explored. One of these is the methodological dualism which Schelling advocates at the very start of the text. Schelling aims to weld together into a coherent position a first-person phenomenology of freedom and an explanation achieved by locating freedom within a conceptual system articulating the basic structure of the world. Most interpretations of the Freiheitsschrift, however, concentrate on only one of (...) these approaches, thus foreshortening their understanding of Schelling’s enterprise. The article explores this tendency towards one-sidedness by considering two sophisticated recent interpretations of the work, taking opposite tacks. One, by Markus Gabriel, focuses on the distinctive, self-reflexive metaphysics which Schelling proposes, while the other, by Sebastian Gardner, claims that Schelling’s ontology is extrapolated entirely from his account of our moral consciousness, a procedure pioneered by Kant. The article argues that neither of these interpretations can do full justice to Schelling’s project. Furthermore, although the Freiheitsschrift is not entirely successful, and hence points towards later developments in Schelling’s thinking, its treatment of freedom is superior to the ‘soft naturalism’ pioneered by Peter Strawson, and currently influential across various philosophical traditions. (shrink)

This paper revisits Ronald Dworkin’s influential position that a person’s advance directive for future health care and medical treatment retains its moral authority beyond the onset of dementia, even when respecting this authority involves foreshortening the life of someone who is happy and content and who no longer remembers or identifies with instructions included within the advance directive. The analysis distils a eudaimonist perspective from Dworkin’s argument and traces variations of this perspective in further arguments for the moral authority (...) of advance directives by other authors. It then critiques a feature of the eudaimonist perspectives within these arguments—namely, the position that dementia has a retroactive negative impact on what a person has previously valued—and challenges the commonly held assumption underlying them that a person’s life and well-being have relatively low value beyond the onset of dementia. Although advance directives have moral authority as a means of guiding one’s future health care, accounts that dismiss the value of the lives and well-being of people living with dementia should be questioned to the extent that such accounts are used to support the moral authority of advance directives stipulating measures to foreshorten individuals’ lives. (shrink)

Serlio achieved fame as an architect and the author of seven books on architecture, but his activities as a painter are hardly known. The recently discovered autograph manuscript reveals his thinking about this 'most noble art': collectively its pages form the introduction to an unfinished treatise on painting. As with his architectural discourse, Serlio's approach to writing about painting is entirely practical. In no sense a humanist reflection on the subject of art, the work was planned as an illustrated manual (...) and pedagogical tool for the novice painter. The discussion opens with a first section on disegno where the rudiments of drawing are outlined. Very quickly Serlio turns to foreshortening and perspectives on the human figure, emphasising the infinite nuances possible as the body to be represented moves. Such concerns disclose the influence of his mentor Baldassare Peruzzi and association with other members of Raphael's studio. As presented in this manuscript, the manual may have graphically resembled Dürer's Vier Bücher in its printed form, but the rules of disegno respect the Italian workshop tradition as we know it from Carlo Urbino's Le regole del disegno and the Leonardesque heritage. Serlio's projected volume of painting instruction may be regarded as a first literary experiment—a precursor to his later illustrated books on architecture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virginia Woolf, Time, and the RealJane DuranCritical appraisal of the work of Virginia Woolf has tended to focus on feminist concerns, or on issues revolving around the actual facts of her upbringing and the extent to which she might have been thought to be a victim of abuse. Although some commentators have noted that Woolf's high modernist style lends itself to a number of readings with respect to sense (...) of self, the passage of time, and a sort of phenomenological reflection, philosophical concerns have, in general, not played a large role in Woolf scholarship to date.In this article I shall argue that some of Woolf's best known work—especially To the Lighthouse—exemplifies a concern for time, reality and a sense of interior life-as-lived that is overtly philosophical in its construction, and even somewhat didactic. Furthermore, I will claim, it is part and parcel of modernism as it is ordinarily conceived to address these issues in some fashion, even if, in many cases, they are not addressed as thoroughly as they are in Woolf's work. Even if we can be certain that a great deal of Woolf's mental disturbance, or mental illness, was the result of childhood abuse, or even inherited tendencies, it still does not detract from the power with which she was able to use depictions of inner turmoil to give us a sense of the fleeting and transitory nature of the real. Indeed, such a sense is one of the hallmarks of Woolf's work and is acknowledged by most of her critics, even if it is not termed a philosophical concern. I will analyze constructs of time and the chronological through a view of To the Lighthouse.IA number of philosophers have offered conceptions of time; these efforts range from those of antiquity to the more technical articulations [End Page 300] of the twentieth century. One of the most haunting evocations of the power of time is in the work of one whose thought is seldom cited in this regard, Simone de Beauvoir. In Old Age, she offers a phenomenological account of the passage of time that reflects an emphasis on the internally-felt disparity between the past and the present that is a frequently-remarked upon aspect of old age.1 There is a paucity of experience-of-the-present among the very elderly, and a reliance upon the past. Concomitantly, there is a foreshortening of the future. As Beauvoir writes: "How far does memory allow us to retrieve our lives? The images... are far from possessing the richness of their original object. An image is the seeing of an absent object by means of an organic and affective analogue" (p. 147). Despite the fact that these images may lack the richness of the original, the somewhat paradoxical effect of being older is that these images predominate.In To the Lighthouse, Woolf plays with time in a way that allows for a development of the internally-sensed structure of time on the parts of the various characters. Although many have remarked upon the well-known middle section, "Time Passes," this aspect of the felt sensation of time as an internal phenomenon, and one on which her characters seem to draw at regular intervals, is a somewhat little remarked feature of the rest of the book. It is present from the outset: James's first thoughts about the trip to the lighthouse highlight time in a sort of reversal of the way that Beauvoir has indicated for the elderly; James's conception of the passing of time is altered in another sense, since he is only six. He has projected himself forward so intently to the trip to the lighthouse that everything else has seemed somewhat unreal. As Woolf writes, "he had looked forward, for years and years it seemed...."2Although the differences between the felt constructions of time between, for example, childhood and old age might seem to partake of the commonplace, Beauvoir is among those philosophers who have used the notion of the truncation of time and the foreshortening of the future among the elderly to make philosophical commentary. By the same token... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Black Deconstruction: Russell Atkins and the Reconstruction of African-American CriticismAldon Lynn Nielsen (bio)“What does that signify?” “It don’t signify nothin’ Mr. Warner.”—Russell Atkins, MaleficiumThere are, everywhere unheard (as one might see deep in an electron microscope) rigidities violently breaking—Russell Atkins, WhicheverCritical debates about the applicability of recent literary theories to the reading of African-American writing have often been marked by curious lacunae. Despite the rapid proliferation of critical texts (...) addressing themselves to black writing, it remains the case that many critics come to black writing with methodologies and agendas already in hand, while few critics have taken upon themselves the task of rereading the critical history of African-American work in theory. This has often resulted in a sort of critical shortsightedness, with the field of black literary theory presented as a foreshortened, if now more level, playing field. While some have engaged in arguments about the question of whether or not African-American writing should be engaged by poststructuralist theorists (a question that seems to begin with the assumption that poststructuralism is a particularly white mode of mythology), the fact is that a form of deconstruction had been theorized by an African-American poet long before deconstruction had entered the American academy. That this fact is largely unknown among contemporary critics is the result of a continuing practice of not reading the theoretical work of black poets who have published outside the established circuit of the academic press. With the prominent exceptions of poets like Amiri Baraka, June Jordan, Larry Neal, and Haki Madhabuti, the critical writings of recent African-American poets have seldom been collected and circulated in any very effective way. Characteristically, Neal’s essays were gathered into a book posthumously, and Madhabuti’s have been published and distributed primarily through his own publishing house. Even Baraka’s collections have been allowed to pass out of print in most instances, only the books on music remaining readily available throughout his career. This may change for black poets who write in more mainstream modes in the near future. Now that Rita Dove has served a term as Poet Laureate of the United States and Derek Walcott has won the Nobel Prize, we might expect a modest increase in interest by publishers and readers in critical works by poets whose forms are less troubling than their content. And black poets who attain academic credentials and write scholarly/critical essays, such as Nathaniel Mackey and Harryette Mullen, may succeed in getting their works published by the university presses. However, surveys of shelves in bookstores and [End Page 86] libraries will confirm that there has been little concern among even university and small presses to collect and preserve the critical legacy of black experimentalists in the way that the essays of Charles Olson, Ed Dorn, or Robert Creeley have been maintained before a public.Russell Atkins has been one of the most prolific and demanding of black poets writing criticism and theory in the last four decades, but like Percy Johnston, central figure of the Dasein group of poets centered at Howard University in the 1950s, he has had to publish most of this work through his own magazine and workshop press, and there has never been a published collection of his critical work. The special Russell Atkins number of the Free Lance, a journal with which Atkins was associated for two decades, included a section surveying his work in critical prose, but little of that work has found its way into the broader critical discourse of literary scholars (it has fared a little better with musicologists), and Atkins’s prose is infrequently cited. As eccentric as Atkins’s prose can sometimes be, these works are important early signs of a break with the “rigidities” of traditional humanist discourse among African-American writers. Atkins’s statements on music, literature, politics, and education parallel the works by Baraka leading into and out of the Black Arts Movement, but Atkins, as he does in his verse, travels an independent and often disturbing path.Speaking of Anthony Braxton’s experimentalism, Ronald Radano observes that it “emerged from the changing landscape of urban American life, from... (shrink)

1. A new wave of subjectivism in the theory of pictorial art began around forty years ago; and since then it has gathered pace in tandem with changing fashions in the philosophy of mind. The initial impetus was provided by the publication of Ernst Gombrich’s 1956 Mellon Lectures, Art and Illusion.1 In this book, and in many subsequent articles and lectures which elaborate its theme, Gombrich argues that the development of Western art – essentially the art of ancient Greece and (...) the art of Western Europe from Giotto to Cezanne – consists in a series of discoveries about the nature of visual perception, and the means by which the effect of visible objects on our senses can be simulated. ‘What may make a painting like a distant view through a window’ he writes, ‘is not the fact that the two can be as indistinguishable as is a facsimile from the original: it is the similarity between the mental activities both can arouse.’ And in another place: ‘The goal which the artist seeks with such self-critical persistence is … a psychological effect.’2 These remarks are concerned with a specific artistic tradition, and with specific pictorial devices, such as foreshortening and shading, which I shall not write about here. But Gombrich’s work launched a search for a general theory of depiction based on the same approach. The search intensified in the wake of Nelson Goodman’s Languages of Art, which persuaded most of its readers that the resemblance theory of depiction could not be made to work, but did not provide a plausible alternative to it. Today there is broad agreement among philosophers that the nature of pictorial art cannot be explained by analysing the relationship between the marks on the surface of a picture and the kinds of objects that they represent. The consensus is that it can only be explained by defining the psychological effect that these marks produce.3 Today, the two most influential theories of depiction that are guided by this general idea are Richard Wollheim’s and Christopher Peacocke’s.. (shrink)

In Italy, notably Florence, the late fourteenth and the fifteenth centuries witnessed the proliferation of texts that discuss the relationship between the mirror and painting. In them, the mirror is closely associated with major innovations of the time such as naturalistic representation and linear perspective. On a technical level, the authors describe the mirror's function in the painting of self-portraits and recommend it be used to draw foreshortened objects more easily and to judge the quality of finished paintings. The technical (...) aspects often lead over to theoretical considerations such as the limitations of perspective, the origins of painting, the analogy between the mirror image and the painted image, and the concept that the mind of the painter resembles a mirror. The fact that these texts do not mention the concave mirror projection method described by Hockney and Falco speaks strongly against its use in the early Renaissance. (shrink)

Shaffer takes a tour of some perennial questions in this lucid and simply written primer. How do I know I am not dreaming? How does reality differ from a dream? How can we be certain of our knowledge? Varying viewpoints are briefly summarized. The fallibilist view that even a priori mathematical truths and first person reports of feelings and perceptions are subject to error is examined, as is the anti-fallibilist reply that the theoretical possibility of error, without actual evidence, is (...) not sufficient to disturb the certainty of certain kinds of knowledge. Our knowledge of the external world is questioned by Berkeleyan idealism, which treats matter as nothing but a perception of our minds, and by phenomenalism, which treats material objects as nothing but collections of sense data. Opposed to these views are causal theories, which view physical objects as existing independently of observers, and sense data as the result of the causal interaction of material objects and particular bodies. It should be noted that the book's format requires such drastic foreshortening of Descartes' and Berkeley's views that its characterization of the former's system as "one of the great achievements in man's intellectual history" is in no way confirmed by the textual references. Other questions discussed in lively fashion are the self ; identity theory ; epiphenomenalism ; and interactionism. Is the mind best defined as the collection of mental events one has during a lifetime? If these events are all connected with the same body, the mind seemingly cannot survive the death of the body. Finally, theistic and atheistic views about the meaning of life are compared, with the Aristotelian view of teleological causation as the common denominator. The book asks many questions, provides few answers, but serves as an enticement to further exploration.--A. T. (shrink)

In this book the foremost philosophical exegete of Scotus's thought presents an extensive commentary on a metaphysical masterpiece of the great Franciscan master. As many well know, A Treatise on God is one of the most sustained purely philosophical arguments for the existence and nature of God to come from the middle ages. But the original work makes hard reading. Informing Scotus's argumentation are a host of vital metaphysical doctrines that barely reach the surface of the written text. Without a (...) knowledge of these submerged positions Scotus's thought in the Treatise strikes one as a hardly penetrable code. Typical hurdles for the reader include severely foreshortened arguments, almost complete absence of examples, and obliquely relevant objections. In addition, Scotus seems to be working through an intellectual agenda that involves a sophisticated conversation with the great minds of the metaphysical tradition. The reader needs to be cognizant of the terms and principals of this dialogue. Wolter's commentary is a superb companion that clearly establishes the context and flow of argumentation in Scotus's treatise. (shrink)