What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

This paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is (...) meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively. (shrink)

It is commonly assumed that causation is transitive and in this paper I aim to reconcile this widely-held assumption with apparent evidence to the contrary. I will discuss a familiar approach to certain well-known counterexamples, before introducing a more resistant sort of case of my own. I will then offer a novel solution, based on Yablo’s proportionality principle, that succeeds in even these more resistant cases. There is a catch, however. Either proportionality is a constraint on which causal claims are (...) true, and the solution works, or it is not and causation is not transitive after all. I will argue that the first horn has unacceptable consequences and should be rejected, but that the second horn is less costly than it might initially appear. (shrink)

This chapter contains sections titled: Danto and Kant Recent Danto on Kant's Aesthetics Late Danto's “Aesthetic Turn”? Danto on Works of Art as “Embodied Meanings” Danto on Metaphor Metaphor in Kant Kant on Aesthetic Ideas Aesthetic Ideas, a Contemporary Example.

Just over a decade on from a spike of interest in Jacques Rancière’s writing within educational philosophy and theory, I revisit his interventions on democracy and education to make the case for (re)engaging with Rancière’s writing now to address important questions about contemporary education policy, the role of schools in democratic societies and public debate over the curriculum. Specifically, I argue that Rancière’s interventions on the Platonism that characterises both ‘progressive’ and ‘traditional’ arguments about school curricula in such contexts offer (...) a vital tool for understanding the shifts in education policy and educational debate that animate our current political moment. Building on work that has applied Rancière’s writing to analyse neoliberal education policy, I argue that Rancière’s writing provides a distinctive analytical lens for interpreting a recent shift towards neo-conservative education policy agendas, and the imbrication of schools within the ‘culture-wars’ that characterise the contemporary political landscape in several national settings. Taking recent policies concerned with the teaching of values in England as an example, I argue that a Rancierian perspective on such policy is helpful for revitalising research concerned with education and the role of public schooling in societies that wish to maintain some claim to democracy. (shrink)

McDonnell, Justin The psychologist wishes to balance man psychologically. The spiritual father aims at his divinisation... the psychologist employs the method of questioning and listening and tries to make man aware of his problem and to mature psychologically. The spiritual father, illumined by the grace of God, locates the problem-which is the darkness of the nous-and tries to lead man to the theoria of God by the means of the Orthodox method of purification and illumination. The psychologist acts anthropocentrically (...) using thoughts and ideas. The spiritual father acts in a theocentric way. He uses the therapeutic method, but also the mysteries through which the heart receives the grace of God. (shrink)

Talk at the Philosophy [in:of:for:and] Digital Knowledge Infrastructures online workshop (08/09/2022).

Aesthetics after Modernism argues for the ongoing relevance of aesthetics to art after modernism. In it, I show that even what are typically taken to be the hardest of hard cases engage us in recognisably aesthetic ways and, as such, remain amenable to aesthetic analysis. Why, if that is true, do so many art theorists, critics and sometimes even artists appear to think otherwise? I trace the artworld's rejection of aesthetic theory to Clement Greenberg's success in co-opting the discourse of (...) aesthetics, notably Kant's aesthetics, to underwrite his own formalism about modernist art. Not only has this led to Kant being tarred with the brush of Greenbergian formalism; it has also led critics and theorists of later art to miss the resources of the aesthetic tradition, perhaps especially Kant, for capturing what is distinctive about our cognitive relation to the kinds of art that interest them. There is a tendency simply to assume that Kant's aesthetics cannot speak to the more conceptual aspects of our interactions with art. I trace the legacy of Greenberg's modernism and formalism for later art criticism and theory, before offering an interpretation of Kant's theory of art that seeks to show otherwise. I take Conceptual Art as my test case: here is a form of art that often claims to forgo sensible properties altogether. But if Kant's aesthetics can accommodate to our cognitive relation to art with no sensible features relevant to its appreciation as art then it should in principle withstand the challenge of any form of art. (shrink)

This article is a critical notice of Sherri Irvin’s Immaterial: Rules in Contemporary Art (2022). After introducing Irvin’s project, notably how she understands the role of “custom rules” for the display and conservation of, and participation in, works of contemporary art, I focus on two case studies that motivate her argument: Jan Dibbets’ work, All shadows that occurred to me (1969) and Sarah Sze’s Migrateurs (1997). According to Irvin, both works require the participation of museum conservators not merely for their (...) preservation, but also realization. Granting the latter, I consider its implications. Prior to the involvement of conservators the works in question appear indeterminate in crucial respects. The conservators’ role is to seek enough clarity about various rules governing the work to afford future installations of the work without consulting the artist. But both case studies reveal considerable artistic whimsy when it comes to abiding by the rules supposedly underwriting these works’ identity, raising worries for their persistence over time. Given their constitutive role, I consider whether there is room, on Irvin’s account, for the conservators to be right and the artist wrong about the nature of the works in question. (shrink)

Two events in particular occasion this volume on the philosophy of photography: the blurring of boundaries that many took to demarcate photographic technology and practices from other representational and artistic technologies and the invention of digital photography. The purpose of this volume is not to revive older questions by asking what, if anything, still distinguishes photography in the light of these developments, but to consider sundry questions about the materials and tools—or media—of photography from a variety of perspectives. critically examines (...) classic and influential arguments in philosophy of photography addresses recent trends in photographic art, such as conceptualism and appropriation highlights philosophically neglected elements of photographic art, such as performativity and self-portraiture reexamines the role of photographic media in photographic art practices offers new perspectives of the impact of digital technologies on photography explores the relationship between photographic art and photography in other arts and in science brings a range of philosophical methodologies and traditions into dialogue incorporates extended discussions of the work of important photographers and artists who use photography illustrates philosophical points with reproductions, many of them not widely known closely connects philosophical theory to the details of photographic practice offers original and novel theories of the aesthetic, artistic, and epistemic values of photographs. (shrink)

La discussion sur la doctrine trinitaire d'Origène entraîne nécessairement des questions sur sa pneumatologie. Comme en ce qui concerne le Fils, Origène considère l'Esprit à partir de l'invisible Déité. Il s'appuie sur une logique du Logos : la théologie du Fils est normative pour celle de l'Esprit. Comme l'Eglise pré-nicéenne en général, Origène a un vocabulaire hérétique qui subordonne les trois personnes de la Trinité mais les textes en question sont davantage économiques qu'ontologiques. Selon lui, l'Esprit a-t-il un rôle inférieur (...) au Logos ? Sa pneumatologie est-elle trinitaire ? L'article tente une réponse à ces questions. (shrink)

This chapter examines the early insular history of Bede's Chronica Maiora in a universal context. It considers Bede's treatment of salvation history in the Chronica Maiora's account of the archipelago in the era of the Roman conquest and the barbarian invasions, viewed within the context of contemporary world history. The chapter explains that the Chronica Maiora is located in Bede's magisterial survey of divine and human time and traces the providential unfolding of universal history through the six ages of this (...) world. (shrink)

A recent article has claimed that one of the significant benefits which people in the UK derive from the existence of the National Health Service must be lost if the Service adopts the QALY maximisation principle to allocate medical resources. The argument fails, partly because its author conflates two distinct benefits. The first is almost certainly important, but there is no reason to believe that it would be lost if the principle were introduced (while there is some reason to believe (...) that the benefit would actually be greater). The second, once it is isolated from others with which it may be confused, is much less obviously important; and in any case there is again no reason to believe that it would be lost. Moreover, to argue against the principle on the ground that the second benefit would disappear is really to beg the question against the principle. We could not justify our rejection of the principle on the ground that the principle's adoption would mean that we lost the second benefit. (shrink)

_In _Evidence, Politics, and Education Policy_, political scientists Lorraine M. McDonnell and M. Stephen Weatherford provide an original analysis of evidence use in education policymaking to help scholars and advocates shape policy more effectively._ The book shows how multiple types of evidence are combined as elected officials and their staffs work with researchers, advocates, policy entrepreneurs, and intermediary organizations to develop, create, and implement education policies. _Evidence, Politics, and Education Policy_ offers an in-depth understanding of the political environment in (...) which evidence is solicited and used. Two key case studies inform the book’s findings. The primary case—a major, multimethod study—examines the development and early implementation of the Common Core State Standards at the national level and in four states: California, Indiana, Massachusetts, and Tennessee. A comparative case analyzes the evidence used in Congressional hearings over the twenty-year history of the Children’s Health Insurance Program. Together, the two cases illustrate the conditions under which different types of evidence are used and, in particular, how federalism, the complexity of the policy problem, and the policy’s maturity shape evidence use. McDonnell and Weatherford focus on three leverage points for strengthening the use of research evidence in education policy: integrating research findings with value-based policy ideas; designing policies with incentives for research use built into their rules and organizational structures; and training policy analysts to promote the use of research in policymaking venues. (shrink)

There are at least two different concepts that philosophers might target when analyzing causation: a pre-selective notion and a selective notion. This paper argues that these two distinct conceptions have been conflated to date, citing the puzzles of overdetermination, extensionality, and transitivity as evidence. The primary aim of the paper is to help reset the methodological scene concerning analyses of causation.

ABSTRACTOn 28 October 2012, Savita Halappanavar, an Indian woman living in Ireland, died in hospital while under medical care for a miscarrying pregnancy. According to her husband, her repeated requests for an abortion were ignored because of the presence of a foetal heartbeat. Ms Halappanavar’s death was a critical event in the process leading to a referendum on 25 May 2018, when the Irish electorate voted to repeal the Eighth Amendment of the Constitution, removing the constitutional ban on abortion. The (...) name Savita has become indelibly linked to the changing course of abortion politics, so it is timely to reassess the role of the media in shaping the parameters of the debate about the impact of her death on the issue. This study presents a frame analysis of Irish newspapers in the weeks following her death, mapping the political, medical, legal and socio-ethical discourses, as well as the related contemporaneous events that set the agenda for the type of debate that was to follow. It identifies four media frames: Public Tragedy, Political Opportunity, Abortion Legacy and Maternal Health. Our central argument is that the overall effect of media framing provided much face-saving for politicians in the way that the legislative issue was viewed through a conservative party-political lens, despite public outrage. (shrink)

Are the objects and events that take place in Virtual Reality genuinely real? Those who answer this question in the affirmative are realists, and those who answer in the negative are irrealists. In this paper we argue against the realist position, as given by Chalmers (2017), and present our own preferred irrealist account of the virtual. We start by disambiguating two potential versions of the realist position—weak and strong— and then go on to argue that neither is plausible. We then (...) introduce a Waltonian variety of ictionalism about the virtual, arguing that this sort of irrealist approach avoids the problems of the realist positions, fits with a unifying theory of representational works, and offers a better account of the phenomenology of engaging in virtual experiences. (shrink)

Causal exclusion arguments are taken to threaten the autonomy of the special sciences, and the causal efficacy of mental properties. A recent line of response to these arguments has appealed to “independently plausible” and “well grounded” theories of causation to rebut key premises. In this paper I consider two papers which proceed in this vein and show that they share a common feature: they both require causes to be proportional to their effects. I argue that this feature is a bug, (...) and one that generalises: any attempt to rescue the autonomy of the special sciences, or the efficacy of the mental, from exclusion worries had better not look to proportionality for help. (shrink)

This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. New theory (...) emerges as a response to skeptical orthodoxy in particular. I divide new theory in turn between “restrictive” and “permissive” responses to skeptical orthodoxy and raise challenges for both. The restrictive version arguably divides what does and does not count as strictly photographic in arbitrary ways; the permissive version rules in images that are not obviously photographs and faces two difficulties individuating photographs. I conclude by noting several questions that need to be addressed before new theory clearly has the upper hand over orthodoxy. These concern its ability to account for photography's epistemic capacities, the extent to which it constitutes an advance over “nonskeptical” orthodoxy, and whether new theorists have yet to be new enough when it comes to photographic agency. (shrink)

The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been more popular, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of leading thinkers (including artists) who are having a major impact on making, criticizing and interpreting art. Each entry, written by a leading international expert, presents a concise, critical appraisal of a thinker and their contribution to thought about art and its place in the (...) wider cultural context. A guide to the key thinkers who shape today's world of art, this book is a vital reference for anyone interested in modern and contemporary art, its history, theory, philosophy and practice. (shrink)

From the 1970s to the early-1990s, the discourse surrounding aesthetics largely disappeared from the study of art history, theory and cultural studies. Claims for the aesthetic value of art-works were thought of as elitist and politically regressive. The 1990s witnessed a return to aesthetics, but one that stressed the independent claims of beauty, in reaction to its perceived suppression by ethical and political imperatives. However, beauty is just one aspect of the aesthetic. In recent years, increasing attention has been given (...) to the ways in which aesthetics and ethics are intertwined. In a series of paired essays and responses, a group of the English-speaking world's most distinguished thinkers consider this 'new' aesthetics, demonstrating its cross-disciplinary relevance in terms accessible to a non-specialist readership. (shrink)

Le procédé de la détermination du Canon des Ecritures a été celui de l'identification par elle-même de la koinonia, même si le but immédiat était celui de la préservation de l'évangile. La koinonia, mode de participation à l'échange et la réciprocité de vie entre le Père, le Fils et le Saint-Esprit, de même que la relationalité ecclésiale entre les églises, bâties sur cette vie trinitaire rendue visible en Jésus-Christ par le pouvoir de l'Esprit, s'exprime dans la détermination du canon. Cette (...) expression historique se voit dans la perichoresis organique dans le vie de l'Eglise entre les critères pour inclusion dans le canon ; l'extension de l'apostolicité ecclésiale par une sorte de communicatio idiomatum des églises apostoliques aux églises non-apostoliques; la réciprocité et la mutualité entre canon et Eglise ; la participation et la relationalité des communions locales dans la communion des communions, à la fois par extension historique en arrière et extension géographique dans l'espace présent; l'exercice de la koinonia par l'activité synodale; le Saint-Esprit comme mémoire de l'Eglise. Comme la détermination du canon concerne toute la vie historique de l'Eglise, elle ne peut être ni défaite, ni refaite. (shrink)

Theories of culture and action, especially after the cognitive turn, have developed more complex understandings of how unconscious, embodied, internalized culture motivates action. As our theories have become more sophisticated, our methods for capturing these internal processes have not kept up and we struggle to adjudicate among theories of how culture shapes action. This article discusses what I call “productive” methods: methods that observe people creating a cultural object. Productive methods, I argue, are well suited for drawing out moments of (...) shared automatic cognition and resonance. To demonstrate the value of productive methods, I describe my method of asking focus group participants to devise and draw AIDS campaign posters collectively. I then 1) show how this productive method made visible distinct moments of both automatic and deliberative cognition, 2) offer an operational definition of resonance and demonstrate how the process of drawing revealed moments of resonance, and 3) suggest how this method allowed me to investigate the relationship between cognition and resonance and their effect on action. To conclude, I discuss strategies for using productive methods and advocate for their use in measuring culture. (shrink)

This paper argues that a counterpart-theoretic treatment of events, combined with a counterfactual theory of causation, can help resolve three puzzles from the causation literature. First, CCT traces the apparent contextual shifts in our causal attributions to shifts in the counterpart relation which obtains in those contexts. Second, being sensitive to shifts in the counterpart relation can help diagnose what goes wrong in certain prominent examples where the transitivity of causation appears to fail. Third, CCT can help us resurrect the (...) much-maligned fragility response to the problems of late pre-emption by understanding fragility in counterpart-theoretic terms. Some reasons to prefer this CCT approach to rivals are discussed. (shrink)