The paper presents a novel account of nature and genesis of some philosophical problems, which vindicates a new approach to an arguably central and extensive class of such problems: The paper develops the Wittgensteinian notion of ‘philosophical pictures’ with the help of some notions adapted from metaphor research in cognitive linguistics and from work on unintentional analogical reasoning in cognitive psychology. The paper shows that adherence to such pictures systematically leads to the formulation of unwarranted claims, (...) ill-motivated problems, and pointless theories. To do so, the paper proceeds from a case-study on a lastingly influential development in early modern philosophy: the adoption of the doctrine of secondary qualities, and its principal consequences. The findings motivate a new approach to an arguably extensive and important class of philosophical problems: to the problems we raise in the grip of philosophical pictures. (shrink)

Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.

In the scholarship on Wittgenstein’s later philosophy of mathematics, the dominant interpretation is a theoretical one that ascribes to Wittgenstein some type of ‘ism’ such as radical verificationism or anti-realism. Essentially, he is supposed to provide a positive account of our mathematical practice based on some basic assertions. However, I claim that he should not be read in terms of any ‘ism’ but instead should be read as examining philosophical pictures in the sense of unclear conceptions. The contrast (...) here is that basic assertions that frame philosophical ‘isms’ are propositional such that they are subject to normal argumentative evaluation, while pictures in Wittgenstein’s sense are non-propositional—they lack a clear truth condition. They, therefore, need clarification rather than argumentation. In this paper, I provide a detailed analysis of Wittgenstein’s treatment of philosophical pictures with special focus on his argument on contradiction. I begin by explaining the problem with this trend of theoretical interpretation, taking Steve Gerrard’s otherwise excellent interpretation as a representative example and pointing out why it is problematic. Next, I will argue that those problems do not arise if we take Wittgenstein’s task as the clarification of philosophical pictures. I do this, first, by explaining Wittgenstein’s method using his argument concerning the Augustinian Picture in Philosophical Investigations and then pointing out that the same method can be identified in the crucial arguments in his philosophy of mathematics. Finally, in order to connect my interpretation with the current scholarship, I will explain the relation of my interpretation with those of New Wittgensteinian scholars. (shrink)

The paper develops a novel account of the nature and genesis of some philosophical problems, which motivates an unfamiliar form of philosophical criticism that was pioneered by the later Wittgenstein. To develop the account, the paper analyses two thematically linked sets of problems, namely problems about linguistic understanding: a set of problems Wittgenstein discusses in a core part of his Philosophical Investigations, and the ‘problem of linguistic creativity’ that is central to current philosophy of language. The paper (...) argues that these problems are generated by tacit and unwarranted presuppositions at odds with warranted beliefs the philosophers raising the problems reflectively hold at the same time. For a rigorous conceptualisation of this phenomenon, the paper develops the notion of a ‘philosophical picture’ first proposed by Wittgenstein, and specifies the particular class of philosophical problems that may be raised due to adherence to such pictures. The results motivate a new form of philosophical criticism: the systematic exposure of relevant philosophical pictures, and efforts to overcome their tacit influence on philosophical reflection. (shrink)

In this paper, I will investigate Wittgenstein’s idea about the context-sensitivity of utterance. It is the idea that there is a big gap between understanding a sentence in the sense of knowing the idioms and discerning the grammar in it, and what is said by using it in a particular context. Although context-sensitivity in this moderate sense is a familiar idea in Wittgensteinian scholarship, it has mainly been studied as an idea in “Wittgenstein’s philosophy of language.” However, Wittgenstein’s interest in (...) language is always connected with his interest in the treatment of philosophical problems. Therefore, what is lacking in those preceding studies is the study of the relation between Wittgenstein’s engagement with the idea of context-sensitivity and his philosophical therapy. Therefore, I shall investigate that relation and show that Wittgenstein’s philosophical method cannot be intelligible without taking context-sensitivity into consideration and Wittgenstein’s focus on context is deeply connected with his method for treating philosophers’ “pictures.” Below, I will examine recent debates on grammar, and argue that the standard interpretation is untenable once proper consideration is given to context-sensitivity. Next, I will argue that context-sensitivity is important because it gives us a good grasp of the process of a philosopher’s being caught in a picture by citing the discussion about mental process and about the Augustinian picture and rule-following in Philosophical Investigations. Finally, I will talk about the significance of my interpretation for contemporary arguments about philosophical methods. (shrink)

In this paper, I will investigate Wittgenstein’s idea about the context-sensitivity of utterance. It is the idea that there is a big gap between understanding a sentence in the sense of knowing the idioms and discerning the grammar in it, and what is said by using it in a particular context. Although context-sensitivity in this moderate sense is a familiar idea in Wittgensteinian scholarship, it has mainly been studied as an idea in “Wittgenstein’s philosophy of language.” However, Wittgenstein’s interest in (...) language is always connected with his interest in the treatment of philosophical problems. Therefore, what is lacking in those preceding studies is the study of the relation between Wittgenstein’s engagement with the idea of context-sensitivity and his philosophical therapy. Therefore, I shall investigate that relation and show that Wittgenstein’s philosophical method cannot be intelligible without taking context-sensitivity into consideration and Wittgenstein’s focus on context is deeply connected with his method for treating philosophers’ “pictures.” Below, I will examine recent debates on grammar, and argue that the standard interpretation is untenable once proper consideration is given to context-sensitivity. Next, I will argue that context-sensitivity is important because it gives us a good grasp of the process of a philosopher’s being caught in a picture by citing the discussion about mental process and about the Augustinian picture and rule-following in Philosophical Investigations. Finally, I will talk about the significance of my interpretation for contemporary arguments about philosophical methods. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be (...) fatal to resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

Conceptual analysis aims to uncover the basic criteria of concepts that underwrite categorizing members via the method of cases. However, conceptual analysis has not been very successful and experimental philosophy has increasingly detailed this lack of success. This essay reviews Thinking Off Your Feet: How Empirical Psychology Vindicates Armchair Philosophy by Michael Strevens, which attempts a novel defence of conceptual analysis. It is a strategic intervention that seems to preserve a relatively traditional picture of philosophical inquiry. I concentrate on (...) several assumptions in this intervention that might be questioned and conclude there are good reasons to continue an interrogation of how we understand the philosophical enterprise. Ideally, this might encourage us to rebuild our picture of what philosophy is. (shrink)

This book is intended to challenge Frege's Begriffsschrift as the foundation of philosophical work which either uses formal methods or is inspired by them s it attempts the synthesis of the antithetical ideas associated with Wittgenstein, the Picture-Theory, and the language-game conceived as the untimate level of explanation.

This series of intimate snapshots of family life shows how the ordinary journey through marriage, maturity, and parenting is fraught with extraordinary questions about ethics, knowledge, and metaphysics. Humorous and poignant depictions of family members are presented in the context of classical philosophical questions. The reality of family life brings these questions down to earth, while the author's imaginative use of philosophy deepens the reader's understanding of what is at stake for an individual enclosed in the sphere of the (...) family. The author's romantic vision of love as a spiritual anchor gives way to mock horror at discovering her new husband's philosophy of life. A respectful description of her mother-in-law's attempts to stave off death by clinging to physical possessions is followed by an outrageous account of her mother's ability to constructively ridicule the foibles of others. A meditation on the importance of learning from children about the value of human life is juxtaposed with the record of a futile attempt to learn from an art exhibit while chasing a wriggling infant. Family Pictures brings philosophy to a wider audience, by showing how philosophical questions arise in ordinary experience, and how practical philosophy can be in understanding personal and spiritual transformation. (shrink)

This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at face (...) value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (shrink)

_Philosophical Delusion and its Therapy_ provides new foundations and methods for the revolutionary project of philosophical therapy pioneered by Ludwig Wittgenstein. The book vindicates this currently much-discussed project by reconstructing the genesis of important philosophical problems: With the help of concepts adapted from cognitive linguistics and cognitive psychology, the book analyses how philosophical reflection is shaped by pictures and metaphors we are not aware of employing and are prone to misapply. Through innovative case-studies on the genesis (...) of classical problems about the mind and perception, and on thinkers including Locke, Berkeley and Ayer, the book demonstrates how such autonomous habits of thought systematically generate unsound intuitions and philosophical delusions, whose clash with reality, or among each other, gives rise to ill-motivated but maddening problems. The book re-examines models of therapeutic philosophy, due to Wittgenstein and J. L. Austin, and develops an approach that may let us overcome philosophical delusions and the problems they engender. In this way, the book explains where and why therapy in called for in philosophy, and develops techniques to carry it out. (shrink)

Such claims are part 0f a viewpoint according t0 which mental images represent in thc manner of pictures. It is very natural t0 think that such claims are confused or nonsensical. One of my purposes here is a limited dcfcnsc of this supposedly confused doctrine, especially against its chief cognitive science rival. But this..

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, (...) such arguments can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

Iris Murdoch has long been known as one of the most deeply insightful and morally passionate novelists of our time. This attention has often eclipsed Murdoch's sophisticated and influential work as a philosopher, which has had a wide-ranging impact on thinkers in moral philosophy as well as religious ethics and political theory. Yet it has never been the subject of a book-length study in its own right. Picturing the Human seeks to fill this gap. In this groundbreaking book, author Maria (...) Antonaccio presents the first systematic and comprehensive treatment of Murdoch's moral philosophy. Unlike literary critical studies of her novels, it offers a general philosophical framework for assessing Murdoch's thought as a whole. Antonaccio also suggests a new interpretive method for reading Murdoch's philosophy and outlines the significance of her thought in the context of current debates in ethics. This vital study will appeal to those interested in moral philosophy, religious ethics, and literary criticism, and grants those who have long loved Murdoch's novels a closer look at her remarkable philosophy. (shrink)

The most important question concerning picture perception is: what perceptual state are we in when we see an object in a picture? In order to answer this question, philosophers have used the results of the two visual systems model, according to which our visual system can be divided into two streams, a ventral stream for object recognition, allowing one to perceive from an allocentric frame of reference, and a dorsal stream for visually guided motor interaction, thus allowing one to perceive (...) from an egocentric frame of reference. Following this model, philosophers denied that we can be in a dorsal perceptual state when perceiving a depicted object. This is because a depicted object is not physically graspable or manipulable and, in turn, it cannot be egocentrically localized, as a normal object, by the dorsal stream. Thus, the impossibility of manipulating depicted objects and of localizing them from an egocentric frame of reference has led some people to be sceptical about the possibility of a representation of action properties in the perception of objects in pictures, which pertains to the dorsal visual system. The aim of the present paper is to show that it is possible for the depicted object to be represented by dorsal perception. That means that we can ascribe action properties to depicted objects as well, even if depicted objects cannot be egocentrically localized—at least, not as much as normal objects can. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from Aliens, (...) Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.

The Social Intelligence or Social Brain Hypothesis is an influential theory that aims to explain the evolution of brain size and cognitive complexity among the primates. This has shaped work in both primate behavioural ecology and comparative psychology in deep and far-reaching ways. Yet, it not only perpetuates many of the conceptual confusions that have plagued psychology since its inception, but amplifies them, generating an overly intellectual view of what it means to be a competent and successful social primate. Here, (...) I present an analysis of the Social Intelligence/Brain hypothesis highlighting how its anthropocentric origins have led us to be held captive by a picture of what social life involves and the kind of mind needed to navigate the social landscape. I go on to consider how experimental work in this vein either does not test what it claims to be testing, or introduces impossible problems regarding animal minds that cannot be solved, but only dissolved. What we need, in other words, is the application of “Wittgenstein's razor” and the reinvention of primatology along his enactivist lines. (shrink)

ABSTRACT:Are face-to-face perception and picture perception different perceptual phenomena? The question is controversial. On the one hand, philosophers have offered several solid arguments showing that, despite some resemblances, they are quite different perceptual phenomena and that pictures are special objects of perception. On the other hand, neuroscientists routinely use pictures in experimental settings as substitutes for normal objects, and this practice is successful in explaining how the human visual system works. But this seems to imply that face-to-face perception (...) and picture perception are very similar, if not actually the same. How can we decide between these two opposite intuitions? Here I offer a regimentation of the notion of picture perception that can reconcile these two apparently conflicting ideas about pictures. It follows that philosophers and neuroscientists can maintain their respective stances without any theoretical conflict. (shrink)

Although cognitivism has lost some ground recently in the philosophical circles, it is still the favorite view of many scholars of emotions. Even though I agree with cognitivism's insight that emotions typically involve some type of evaluative intentional state, I shall argue that in some cases, less epistemically committed, non-propositional evaluative states such as mental pictures can do a better job in identifying the emotion and providing its intentional object. Mental pictures have different logical features from propositions: (...) they are representational, and some may or may not portray actual objects aptly. Yet, unlike propositional attitudes, mental pictures do not allow for objective criteria by which one can judge that a certain picture is an apt portrait of someone or something. (shrink)

Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocative explanation, arguing that some pictures have special kinds of beauty and sublimity that offer aesthetic transcendence. They take us imaginatively beyond our finite limits and even invoke a sense of the divine. Such aesthetic transcendence forges a relationship with the ultimate and completes us (...) psychologically. Philosophers and theologians sometimes account for this as an effect of art, but How Pictures Complete Us distinguishes itself by revealing how this experience is embodied in pictorial structures and styles. Through detailed discussions of artworks from the Renaissance through postmodern times, Paul Crowther reappraises the entire scope of beauty and the sublime in the context of both representational and abstract art, offering unexpected insights into familiar phenomena such as ideal beauty, pictorial perspective, and what pictures are in the first place. (shrink)

The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear on (...) the question of whether there are such things as “purely visual” arguments. I shall draw on Wittgenstein’s remarks in the Blue and Brown Books and in Philosophical Investigations in order to argue that al- though visual images may occur as elements of argumentation, broadly conceived, it is a mistake to think that there are purely visual arguments, in the sense of illative moves from premises to conclusions that are conveyed by images alone, without the support or framing of words. (shrink)

Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer an account of picture (...) perception that is able to regain and explain this neglected emotional charge. My claim is that, as for face-to-face perception, during picture perception, we are not only in a visual perceptual state, but also in an emotional state, which is directly connected to our visual perceptual state. I also show that it is possible to offer this integration while remaining in the philosophical/empirical framework of the dorsal/ventral account of picture perception, whose explanatory power is confirmed and improved. (shrink)

Philosophers have traditionally held that propositions mark the domain of rational thought and inference. Many philosophers have held that only conceptually sophisticated creatures like us could have propositional attitudes. But in recent decades, philosophers have adopted increasingly liberal views of propositional attitudes that encompass the mental states of various non-human animals. These views now sit alongside more traditional views within the philosophical mainstream. In this paper I argue that liberalized views of propositional attitudes are so liberal that they encompass (...) states of all sorts of apparently mindless systems like circadian clocks in plants. I begin by arguing that on the most well-developed and widely endorsed theories of underived representation in philosophy, circadian clocks qualify as representations. I then argue that standard reasons for thinking that perceptual states and pictures have propositional content carry over to circadian clocks. Finally, I argue that circadian representations in plants play the kind of functional role that is widely taken to be partly constitutive of belief-like attitudes. So according to mainstream theories of representation, propositions, and attitudes, plants have propositional attitudes. Yet on other more traditional views, this conclusion would seem absurd. So, contrary to appearances, there is no shared, stable understanding of what propositional attitudes are in contemporary philosophy. (shrink)

The Japanese scholar Miura Baien (1723-1789) worked throughout his life to produce a philosophical analysis of the natural world. Misinterpretations of his intentions arise from drawing diagrams on his behalf that are inconsistent with his text, or by applying to his text Western academic terms that are quite foreign to his thought. When Baien's text is examined in his own terms we can understand its significant role in the scientific thought of the Edo period.

In PI 189, Wittgenstein's interlocutor asks, ‘But are the steps then not determined by the algebraic formula?’. Wittgenstein responds, ‘The question contains a mistake’. What is the mistake contained in the interlocutor's question? Wittgenstein's elaboration is neither explicit nor its intended upshot transparent. In this paper, I offer a reading on which the interlocutor's question arises from illicitly crossing different pictures of ‘determination’. I begin by working through Wittgenstein's machine analogy in PI 193, which illustrates picture‐crossing in our ways (...) of talking about a machine. Using the lessons from this analogy, I show how the interlocutor's ‘mistake’ can be diagnosed in similar terms: their confusion about the power of a rule to determine its applications rests on mistakenly crossing a behavioural and a mathematical sense of ‘determine’—thereby concocting a mystifying picture of rule‐following. (shrink)

The word “picture” occurs pervasively in Wittgenstein's later philosophy. Not only does Wittgenstein often use literal pictures or the notion of mental pictures in his investigations, but he also frequently uses “picture” to speak about a way of conceiving of a matter (e.g. “A picture held us captive” at Philosophical Investigations§115). I argue that “picture” used in this conceptual sense is not a shorthand for an assumption or a set of propositions but is rather an expression of (...) conceptual bedrock on the model of an organising myth. This reading builds primarily on work by Gordon Baker and Stanley Cavell. (shrink)

Several prominent philosophers of science, most notably Ron Giere, propose that scientific theories are collections of models and that models represent the objects of scientific study. Some, including Giere, argue that models represent in the same way that pictures represent. Aestheticians have brought the picturing relation under intense scrutiny and presented important arguments against the tenability of particular accounts of picturing. Many of these arguments from aesthetics can be used against accounts of representation in philosophy of science. I rely (...) on Dominic Lopes' recent summary of arguments against various views of picturing and reformulate some of them to fit the philosophy of science context. My specific targets here are Giere and Steven French. I go on to argue that assuming all scientific models and images represent in the same way is not the best guide to understanding scientific practice. (shrink)

This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.

Although certainty is a fundamental notion in epistemology, it is less studied in contemporary analytic epistemology than other important notions such as knowledge or justification. This paper focuses on Wittgensteinian certainty, according to which the very basic dimension of our epistemic practices, the elements of our world-pictures, are objectively certain, in that we cannot legitimately doubt them. The aim of the paper is to offer the best philosophical way to clarify Wittgensteinian certainty, in a way that is consonant (...) with Wittgenstein's fundamental insights. The paper critiques two alternative proposals for clarifying Wittgensteinian certainty that are philosophically unsatisfying: the rule view and the proposition view. Finally, it instead shows how viewing world-pictures as pictures, in the sense of unclear conceptions, is a more philosophically fruitful approach to understanding world-pictures. (shrink)

Philosophers have traditionally held that propositions mark the domain of rational thought and inference. Many philosophers have held that only conceptually sophisticated creatures like us could have propositional attitudes. But in recent decades, philosophers have adopted increasingly liberal views of propositional attitudes that encompass the mental states of various non-human animals. These views now sit alongside more traditional views within the philosophical mainstream. In this paper I argue that liberalized views of propositional attitudes are so liberal that they encompass (...) states of all sorts of apparently mindless systems like circadian clocks in plants. I begin by arguing that on the most well-developed and widely endorsed theories of underived representation in philosophy, circadian clocks qualify as representations. I then argue that standard reasons for thinking that perceptual states and pictures have propositional content carry over to circadian clocks. Finally, I argue that circadian representations in plants play the kind of functional role that is widely taken to be partly constitutive of belief-like attitudes. So according to mainstream theories of representation, propositions, and attitudes, plants have propositional attitudes. Yet on other more traditional views, this conclusion would seem absurd. So, contrary to appearances, there is no shared, stable understanding of what propositional attitudes are in contemporary philosophy. (shrink)

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To (...) this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics. (shrink)

This paper focuses on Pseudo Justin's objections to Aristotle's cosmological doctrines, and aims to show that, as a result of his criticisms to Aristotle's viewpoints, an entirely new view of the natural world bursts in. A few arguments by Pseudo Justin against the Aristotelian cosmology are analysed, and the author shows that Pseudo Justin makes use of conceptual tools and of some assumptions Aristotelian in character without resorting to the creationist argument. If what is suggested in this paper is sound, (...) Pseudo-Justin would have put forward and advanced for the first time some aspects of the physical model which turned out to be dominant from Modernity onwards several centuries before the new approach to nature starting in the XVII century. (shrink)

Do representational pictures have propositional contents? The current paper argues that the characteristic contents of pictures are predicative rather than propositional: pictures characterise things as looking certain ways, and they thereby express properties of visual perspectives. The paper argues that the characteristic predicative contents of pictures are nonetheless able to feature in fully-fledged propositional contents once they are combined with contents of other suitable sorts. Various facts about communicative uses of pictures are then explained. The (...) paper concludes by considering the bearing of its conclusions upon questions about the relationships between linguistic representation and pictorial representation. (shrink)

This chapter focuses on picture theory, which is sometimes spoken of as a theory of the proposition. By a proposition, Wittgenstein like Frege means something that determines its sense by means of a correlation between the mode of combination of its constituent symbols and the structure of its sense. It has been an orthodoxy amongst Tractatus interpreters, and continues to be such in the wider philosophical community, that Wittgenstein follows the Russell in offering a correspondence theory of truth. The (...) expression of a Tractarian fact provides that fact's mode of combination, and from here there can be no further question as to the ontological types of its constituents. Tractarian facts, it is however added, are not truth conditions but items whose existence explains the obtaining of truth conditions: a Tractarian atomic fact is not a truth condition but a truthmaker. (shrink)

Are philosophers regularly led into error by misleading pictures, grammatical appearances, illusions and fictions? An affirmative answer to this question lies at the heart of the writings of the later Wittgenstein on mind and language. Another affirmative answer was given much earlier by Anton Marty. The two Austrian philosophers think that philosophers regularly succumb to certain temptations which lie in natural language. Many of the examples given by the two philosophers are indeed the same. I set out the similarities (...) between the two accounts of misleading pictures and argue that many aspects of the two accounts can be defended independently of the very different conceptions of the philosophy of Marty and Wittgenstein. The paper shows how important it is to consider Wittgenstein’s Austrian predecessors if he is to be understood. (shrink)

This chapter aims to attempt no more than to make some informal and unsystematic remarks on the transformation of analytic philosophy. It deals with a few sketchy remarks on the historiography of recent analytic philosophy. Writing in 1981, David Lewis described “a reasonable goal for a philosopher” as bringing one’s opinions into stable equilibrium. A natural comparison is between Lewis’s Quinean or at least post‐Quinean methodology and the methodology of Peter Strawson, Quine’s leading opponent from the tradition of ordinary language (...) philosophy. Analytic epistemology provides a good case study of the philosophical application of Gricean pragmatics outside the philosophy of language. On Michael Dummett picture of the history of philosophy, Descartes had made epistemology first philosophy, the engine for the rest of philosophy, and then Frege had replaced epistemology by the philosophy of language as first philosophy. The chapter suggests that philosophy sometimes already uses an abductive methodology and ought to use it more in the future. (shrink)