Ce livre traite de l'image, mais aussi, plus generalement, de la copie, du double, de la representation, du calque, du sosie... La philosophie, a juste titre, a mis en garde contres ces si dangereux reflets. Ne doit-on pas preferer ce qui est a ce qui l'imite ou le mime? Mefions-nous des leurres! Cependant, on est revenu sur cette seculaire et injuste condamnation. La technologie moderne a peu a peu sauve celle qu'on avait trop inferiorisee et eloignee. Et quelle victoire! (...) L'image numerique, donc celle de synthese, l'arrache a une servitude que les philosophes classiques et meme plus modernes avaient scellee. L'electro-optique, la tomodensitometrie (scannographie), l'holographie, entre autres, multiplient les prouesses liberatrices. Dans le passe, la photographie, voire la radiographie avaient deja ebranle les anciennes positions. La guerre commencait. L'imagerie deferle donc, ainsi que l'industrie noire des contrefacons, des plagiats, des pseudo-repliques, du pastiche. Les trucages et la fraude. Mais ou situer aujourd'hui le vrai et le faux? Comment distinguer le modele et son equivalent? Les vieilles frontieres, comme on le montrera, s'estompent. Quel branle-bas et quelle fete aussi! On a voulu prendre acte de cette nouveaute. Hatons-nous, malgre le danger de nous y perdre, d'engager la philosophie que nous croyons reticente dans ce tourbillon. (shrink)

Cet ouvrage a pour objectif d'interroger en profondeur la manière avec laquelle, historiquement, les philosophes ont « pratiqué l'image dans le concept ». Les auteurs s'interrogent sur le recours à la visualité et à la métaphore dans l'élaboration des schèmes philosophiques à travers l'histoire de la philosophie et les rapports que cette dernière entend tisser avec l'histoire du monde. On tâche de cerner les raisons que les philosophes ont pu avoir de mobiliser ou au contraire de rejeter cet opérateur (...) conceptuel, d'assumer sa performativité ou bien de déplorer son caractère résiduel et résistant à toute systématisation de la rationalité. L'ouvrage cherche ainsi à dégager quelques figures centrales du nouage que les philosophes ne cessent d'opérer au sein du chiasme reliant la construction philosophique de l'image et la constitution de la pensée par l'image. Platon, saint Augustin, Descartes, Spinoza, Kant, Fichte, Schelling, Nietzsche, Bergson, Bachelard, Wittgenstein, Fink, Sartre, Merleau-Ponty, Castoriadis, Simondon et Deleuze sont les auteurs privilégiés dans cet ensemble. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that motion is (...) really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy (...) of “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein. (shrink)

Thoughtful Images: Philosophy Illustrated is the first systematic investigation of how artists throughout the ages have illustrated philosophical texts, ideas, concepts, and theories. The book begins by developing a theory of visual illustrations of philosophical texts and undermining what the author calls "the denigration of illustration." The book then takes a more historical approach, beginning in Ancient Greece and Rome and proceeding through Medieval illuminations and printed broadsides to the frontispieces of philosophical texts. Throughout, attention is paid to how (...) technological developments enable different means for illustrating philosophy. (shrink)

This is the first book to explore the epistemology and ethics of advanced imaging tests, in order to improve the critical understanding of the nature of knowledge they provide and the practical consequences of their utilization in healthcare. Advanced medical imaging tests, such as PET and MRI, have gained center stage in medical research and in patients’ care. They also increasingly raise questions that pertain to philosophy: What is required to be an expert in reading images? How are standards (...) for interpretation to be fixed? Is there a problem of overutilization of such tests? How should uncertainty be communicated to patients? How to cope with incidental findings? This book is of interest and importance to scholars of philosophy of medicine at all levels, from undergraduates to researchers, to medical researchers and practitioners (radiologists and nuclear physicians) interested in a critical appraisal of the methodology of their discipline and in the ethical principles and consequences of their work. -/- . (shrink)

Regroupement d'articles et d'essais sous deux grands titres : le monde de la science et de la technique; la rencontre avec la dimension éthique. [SDM].

In this book van Fraassen develops an alternative to scientific realism by constructing and evaluating three mutually reinforcing theories.

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

The article offers a new approach for the exploration of media and television studies by extracting the television-philosophy implicit in Samuel Beckett’s television play … but the clouds …. The reading focuses on the immanent logic of the play seen as a televisual and an intermedial whole, instead of constructing it as an intertextual tapestry of references. The article argues against a popular interpretation of Beckett as the artist of failure. The reading of …but the clouds… as illustrating the (...) failure of memory and as a comment on the televisual loss of pro-filmic referentiality is subsequently also contested. On the contrary, it is argued that the play in a self-reflexive positive gesture explores both the ontology of the television-image and the ontology of memory as a process of conjuration by presenting a successful emergence of the televisual Image-in-itself. (shrink)

Because the image we have of the human person determines educational practice, Stein’s philosophy of education consists in anthropology. Her main work in education theory falls into two parts, philosophical and theological, as both disciplines influence our image of the human person. The Structure of the Human Person, the first and philosophical part of this foundational project, constitutes Stein’s mature philosophy of the human person – a subject that had occupied her all her life. This article (...) examines the philosophical anthropology of this work, its historical background and its place within Stein’s entire work. (shrink)

Botanical illustration combines scientific knowledge and artistic technique. However, whereas illustrated botanical images record static visual qualities, such as form and color, written botanical narratives supply crucial sensory, ecological, historical, and cultural contexts that complement visual representation. Understanding the text-image interface—where images and words intersect—contributes to humanities-based analyses of botanical illustration and illustrators. More specifically, a process philosophy perspective reveals the extent to which botanical representations engage the temporality, cyclicality, and contextuality of the living plants being illustrated. This (...) article takes up these themes through a comparative theoretical study of three female Western Australian botanical illustrators, Georgiana Leake, Emily Pelloe, and Philippa Nikulinsky, whose lives together span the 183 year history of the Swan River Colony and the state of Western Australia. I apply a processist framework to examine the text-image interface of their works. All three illustrators use some form of textuality: marginalia, annotations, written accompaniments, introductory statements, and other narrative materials. In examining their written commentaries and traces, I identify the emergence of a process mode of botanical illustration that represents plants as ecological, historical, cultural, and temporal organisms. (shrink)

The philosophical analysis of chemistry has advanced at such a pace during the last dozen years that the existence of philosophy of chemistry as an autonomous discipline cannot be doubted any more. The present paper will attempt to analyse the experience of philosophy of chemistry at the, so to say, meta-level. Philosophers of chemistry have especially stressed that all sciences need not be similar to physics. They have tried to argue for chemistry as its own type of science (...) and for a pluralistic understanding of science in general. However, when stressing the specific character of chemistry, philosophers do not always analyse the question ‘What is science?’ theoretically. It is obvious that a ‘monistic’ understanding of science should not be based simply on physics as the epitome of science, regarding it as a historical accident that physics has obtained this status. The author’s point is that the philosophical and methodological image of science should not be chosen arbitrarily; instead, it should be theoretically elaborated as an idealization (theoretical model) substantiated on the historical practice of science. It is argued that although physics has, in a sense, justifiably obtained the status of a paradigm of science, chemistry, which is not simply a physical science, but a discipline with a dual character, is also relevant for elaborating a theoretical model of science. The theoretical model of science is a good tool for examining various issues in philosophy of chemistry as well as in philosophy of science or science studies generally. (shrink)

Residents are important participants and stakeholders in destination development. Identifying factors that assist in predicting resident pro-environmental behavior (PEB) may contribute to enhanced sustainability. Based on a traditional Chinese culture, this research constructed a model of resident PEB by introducing pro-environmental destination image (PEDI) and Confucianism as the independent and moderating variables, respectively. The structural equation modeling for 402 residents indicated the model had a satisfactory level of predictive power for PEB. The results showed that: (1) PEDI positively affected (...) residents’ environmental identity, pro-environmental attitudes, and PEB; (2) environmental identity and pro-environmental attitudes completely mediated the impact of PEDI on residents’ PEB; and (3) Confucian culture had a positive U-shaped moderating effect in the relationships among these four variables. Overall, these findings advance the understanding of the formation of PEB in Confucian culture and provide theoretical and practical implications for fostering residents’ PEB. (shrink)

In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics. -/- Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. (...) Video art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. -/- The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. (shrink)

Ricoeur’s philosophical project can be broadly termed as a philosophical anthropology. Within this context, a main role is given to the issue of imagination through the resources of phenomenology, hermeneutics, and reflexive philosophy. The issue of picture, however, remains quite unknown and has not been much questioned; it might even be undermined by being reduced to the context of reproductive imagination as opposed to that of productive imagination within Ricoeur’s anthropology, and due to the emphasis on the linguistic relationship (...) to sense or meaning. Yet, instead of opposing the plane of picture to the plane of sense or meaning, an articulated connection between those two planes should be sought. The issue of symbolism opened by Ricoeur in his Philosophie de la volonté provides the starting point for our investigation. From that early hermeneutics on to La mémoire, l’histoire, l’oubli, via De l’interprétation. Essai sur Freud, La Métaphore vive, and Temps et récit, one could also consider that picture makes us think. But the issue of symbolism cannot be distinguished from that of imagination. One also has to link two paths of Ricoeur’s philosophy through the issue of symbolism, one that is orientated in the path of hermeneutics – the progression to the standpoint set by Du texte à l’action –, another that links the project of a philosophical anthropology to the fields of art and aesthetics. The research is thus structured around four parts. A first part is focused on the articulated connection between Ricoeur’s philosophy of imagination and philosophical aesthetics by addressing the hermeneutical prospect as the condition for the effectiveness of this connection. Extending this hermeneutical stance, a second part seeks to establish a bond between Ricoeur’s notion of a critical hermeneutics and the issue of picture. A third part, concurrent with the context of a critical hermeneutics, aims to consider imagination as mediating the plane of art and the plane of experience by referring to Ricoeur’s reading of analytic philosophy and, more specifically, analytic philosophy of art. Relying on the previous parts, a fourth part finally addresses the field of film, articulating ontological, narrative, and social layers to a philosophical hermeneutics. (shrink)

The distinction between the body schema and the body image has become the stock in trade of much recent work in cognitive neuroscience and philosophy. Yet little is known about the interactions between these two types of body representations. We need to account not only for their dissociations in rare cases, but also for their convergence most of the time. Indeed in our everyday life the body we perceive does not conflict with the body we act with. Are (...) the body image and the body schema then somehow reshaping each other or are they relatively independent and do they only happen to be congruent? On the basis of the study of bodily hallucinations, we consider which model can best account for the body schema/body image interactions. (shrink)

Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to decode our current 'scripts' of image. As we live in an increasingly visual (...) culture, we are constantly confronted with images that seem to exist without a deeper identity or reality - but did this referential character really get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of Platonic philosophy. He then moves to the Augustinian heritage, in particular the Soliloquies, the Confessions and the Trinity, where he finds valuable insights into images and memory. He explores within the trinitarian framework the crossroads of a theology of grace and a theology based on Neoplatonic views. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered? (shrink)

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person (...) in the art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed. (shrink)

Stanley Rosen's book is the first full-length study of the Sophist in English and one of the most complete in any language. He follows the stages of the dialogue in sequence and offers an exhaustive analysis of the philosophical questions that come to light as Theaetetus and the Eleatic Stranger pursue the sophist through philosophical debate. Rosen finds the central problem of the dialogue in the relation between original and image; he shows how this distinction underlies all subsequent technical (...) themes and analyzes in detail such problems as non-being or negation and false statement. Arguing that the dialogue must be treated as a dramatic unity, he pays careful attention throughout to the setting, the events, the language used, and the relations between the natures of the speakers and the topics under discussion. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic (...) and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

This engaging collection of essays locates the debate between theism and naturalism in the broader context of reflection on imagination and aesthetics. The eleven original essays will be of interest to anyone who is fascinated by the power of imagination and the role of aesthetics in deciding between worldviews or philosophies of nature.

If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. In this collection of writings on images and visual art, the author explores this through an extraordinary range of references.

Technology is increasingly prominent as a topic of philosophical and normative reflection, as recent technological advancements in areas such as artificial intelligence and climate technologies have demonstrated their capability to disrupt our existing social, political, and moral practices. Recently, there is a call to diversify philosophy of technology, a field which has so far largely failed to engage with philosophical traditions outside the United States and Europe. While there are an increasing number of works that have attempted to answer (...) the call, they are primarily attempts to apply normative values and/or frameworks of specific philosophical and cultural traditions. These works have not delved extensively into the questions of technology in these philosophical and cultural traditions; in particular, they have yet to explore how these philosophical and cultural traditions conceive and construct human-technology relations, namely how humans and technology are—and should be—related. This essay distinguishes itself from other attempts to apply normative values and/or frameworks of specific philosophical and cultural traditions. Our aim is to offer a Confucian view of human-technology relations through reviving three Confucian ideas in early Confucianism, namely Creating Qi from the Images (zhi qi shang xiang 制器尚象), Evoking Moral Feelings through Things (yi gu xing wu 以故興物), and Embedding the Rites into Qi (cang li yu qi 藏禮於器). Constructing human-technology relations in the Confucian perspective will offer us an account of how Confucianism sees technology (co-)shaping our perception of and action in the world; it can also provide us with alternative ways to consider technology’s normative implications. (shrink)

This is a collection of four essays on aesthetic, ethical, and political issues by the pre-eminent Kant scholar in Germany today, perhaps best known for rekindling interest in the great classical German tradition from Kant to Fichte.

Naturalism as a guiding philosophy for modern science both disavows any appeal to the supernatural or anything else transcendent to nature, and repudiates any philosophical or religious authority over the workings and conclusions of the sciences. A longstanding paradox within naturalism, however, has been the status of scientific knowledge itself, which seems, at first glance, to be something that transcends and is therefore impossible to conceptualize within scientific naturalism itself. In Articulating the World, Joseph Rouse argues that the most (...) pressing challenge for advocates of naturalism today is precisely this: to understand how to make sense of a scientific conception of nature as itself part of nature, scientifically understood. Drawing upon recent developments in evolutionary biology and the philosophy of science, Rouse defends naturalism in response to this challenge by revising both how we understand our scientific conception of the world and how we situate ourselves within it. (shrink)

Russo and Williamson (Int Stud Philos Sci 21(2):157–170, 2007) put forward the thesis that, at least in the health sciences, to establish the claim that C is a cause of E, one normally needs evidence of an underlying mechanism linking C and E as well as evidence that C makes a difference to E. This epistemological thesis poses a problem for most current analyses of causality which, in virtue of analysing causality in terms of just one of mechanisms or difference (...) making, cannot account for the need for the other kind of evidence. Weber (Int Stud Philos Sci 23(2):277–295, 2009) has suggested to the contrary that Giere’s probabilistic analysis of causality survives this criticism. In this paper, we look in detail at the case of medical imaging technology, which, we argue, supports the thesis of Russo and Williamson, and we respond to Weber’s suggestion, arguing that Giere’s account does not survive the criticism. (shrink)

Michael Jacovides provides an engaging account of how the scientific revolution influenced one of the foremost figures of early modern philosophy, John Locke. By placing Locke's thought in its scientific, religious, and anti-scholastic contexts, Jacovides explains not only what Locke believes but also why he believes it.

Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": anti-cognitivism (...) in Lars von trier's Antichrist -- Song of the earth: cinematic romanticism in Malick's The new world -- Coda: "the six most beautiful minutes in the history of cinema". (shrink)

The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is (...) a radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ (1571–1640), the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society (2012) by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers. (shrink)

... the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižei, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Pyschoanalytic and phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their (...) mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory?"--Publisher's description, p. [4] of cover. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and (...) the digital image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

Images of the human is the collective effort of thirteen philosophy professors to address the questions human beings have been asking for centuries. The book presents selections from the major works of eighteen of the best-known philosophers from ancient to modern times. Each chapter focuses on the writings of a different philosopher - from Plato to Nietzsche, Augustine to Sartre - and includes an introduction and critical comentary.

In 2016, a multidisciplinary body of scholars within the International Commission on Stratigraphy—the Anthropocene Working Group—recommended that the world officially recognize the Anthropocene as a new geological epoch. The most contested claim about the Anthropocene, that humans are a major geological and environmental force on par with natural forces, has proven to be a hotbed for discussion well beyond the science of geology. One reason for this is that it compels many natural and social scientists to confront problems and systems (...) that transgress traditional disciplinary boundaries, and as a result, calls for interdisciplinary research are now gaining traction. Proponents of such transgressions have dubbed the new scientific order that will result “Anthropocene Science”, and rhetoric notwithstanding, such discussions exemplify how recent changes within science justify rethinking a prevailing image of how science is done, and with it, the working relationship between scholars in the humanities, natural scientists, and social scientists. (shrink)

The Other Perennial Philosophy: A Metaphysical Dialectic seeks to synthesize the many fields within science, philosophy, and religion to achieve the most comprehensive picture ever constructed to incorporate universally held beliefs about God, man, and the universe. This book attempts to accomplish several interrelated purposes: to describe the Perennial Philosophy in its depth; to analyze the critical elements contained within such a body of thought; to bring to light the vast literature of views which are oppositional, at (...) least on some level, to those contained in the Perennial Philosophy; to synthesize these seemingly discordant thoughts into a new vision of the nature of reality; to dissect the implications of this new model; and lastly and perhaps most importantly, to demonstrate that intellect has no innate constraints. This book rigorously explores the connections to be made by weaving together the threads of philosophy, religious theology, mysticism, mythology, mathematics, physics, and biochemistry. In this study is both a critique and an homage to Perennial Philosophy. In evoking a new vision of reality, which is at the same time a modernized version of an old image, The Other Perennial Philosophy: A Metaphysical Dialectic seeks to entice readers to rethink their own views on a subject of crucial importance to all. This book will appeal to anyone interested in philosophy and religion. (shrink)

The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature (...) of pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary. (shrink)

While inheriting from Husserl’s phenomenology, Ricoeur aims at determining a philosophical anthropology. Imagination can then be thought as what makes possible a mediation dealing with the disproportion between sensibility and understanding; it can be seen as one of the guiding threads of Ricoeur’s anthropology before becoming a theme or a field of analysis. But if this philosophy of imagination encompasses the issue of image, to the point of making these two terms mostly interchangeable, it too includes a specific (...) philosophy of image, which must be recovered. In this perspective, one could follow a path going from the most general standpoint (the elaboration of a philosophy of image in the wake of a phenomenology of imagination) to the most particular one (the recognition of the image as a symbol, sign or trace) while determining the role of symbolic mediation related to image. (shrink)

This article consists of three parts: the first part presents a synthetic outline of intellectual tendencies in post-Renaissance thought (hermeticism, alchemy, kabbalistics), which generated the iconic turn (emblematics, iconology). Its essence boils down to the integral relationship of the motto (lemma), the engraving (imago), and the poetic text (subscription). The second part is a more detailed analysis of one of the illustrations contained in the first volume of the German edition of Jacob Böhme’s works from 1682 (Amsterdam). The epoch, aesthetic (...) tastes prevailing at that time and the Theosophical content of the work allow us to read this illustration from the point of view of iconology. The third part is devoted to two issues. First, one of the central themes in German idealism was the discussion around the notion of the absolute: whether the absolute can be grasped in concepts (Hegel) or in internal intuition (Schelling). Romanticism was dominated by a tendency to a subjective and speculative approach to the absolute. The philosophy and art of Romanticism was modeled on, among others, medieval German mysticism and Böhme’s theosophy, seeking in these sources the best representation of what is unrepresentable, i.e., the absolute. Secondly, philosophical and artistic Romanticism developed a new type of imagery–language images. The dilemma that resulted from the discussion in German idealism–the notion or inner vision, from the modern point of view, should be solved by a compromise: word and image. (shrink)

The article is devoted to philosophical anthropology in the works of Russian religious thinkers of the 20 th century during their period of emigration. The author conducts a comparative analysis of the main approaches to understanding human nature and its image in the philosophy of Russia abroad. The article identifies a common direction in the development of anthropological concepts, despite individual differences in the views of Russian religious philosophers. The review and analysis begin with the personalism of N.A. (...) Berdyaev, who considered the problem of man to be central to philosophy. In his work The Fate of Man in the Modern World, Berdyaev offered a personal understanding of the new epoch of the 20 th century and proposed his own project of Christian anthropology. His intellectual ally, B.P. Vysheslavtsev, in the book The Ethics of Transfigured Eros, developed an interpretation of anthropological ideas based on an original understanding of the conscious and unconscious in man. Vysheslavtsev extended his ethical framework by introducing the concept of self-knowledge, which he considers the essence of a creative personality. The article further examines the book Reality and Man by S.L. Frank, which provides a comprehensive view of this philosopher’s anthropological beliefs. The foundation for Frank’s anthropology is the idea of personal being, which has been substantiated and developed in Christian thought. L.P. Karsavin developed anthropology from the perspective of the philosophy of all-unity, understanding individual personality as dependent on higher (“symphonic”) personalities. He fully incorporated the doctrine of personality into the metaphysics of all-unity, in which the Trinity serves as the main principle in the development of the entire created world. The last section of the article delves into an analysis of anthropological ideas as presented in the works of V.V. Zenkovsky. In his work Principles of Orthodox Anthropology, Zenkovsky built his argument on the image of God found in human consciousness and justified an anthropological ideal grounded in church doctrine and Orthodox theology. According to the author of the article, all the considered thinkers of Russia abroad recognized the significance of philosophical anthropology and the need for its further substantiation in the context of the Christian worldview. (shrink)

One way in which the characteristic gestures of philosophy and criticism differ from each other lies in their involvements with disillusionment, with the undoing of our naivete, especially regarding what we take ourselves to know about the meaning of what we say. Philosophy will often find less than we thought was there, perhaps nothing at all, in what we say about the “external” world, or in our judgments of value, or in our ordinary psychological talk. The work of (...) criticism, on the other hand, frequently disillusions by finding disturbingly more in what is said than we precritically thought was there. In our relation to the meaningfulness of what we say, there is a disillusionment of plentitude as well as of emptiness. And no doubt what is “less” for one discipline may be “more” of what someone else is looking for.In recent years, metaphor has attracted more than its share of both philosophical and critical attention, including philosophical denials of the obvious, as well as critical challenges to the obviousness of the ways we talk about metaphor. In this paper I discuss a problem of each sort and suggest a complex of relations between them. The particular denial of the obvious that I’m interested in is the claim recently made by Donald Davidson that “a metaphor doesn’t say anything beyond its literal meaning ,” nor is it even correct to speak of metaphor as a form of communication.1 There’s disillusionment with a vengeance; and even if not strictly believable, it is still not without its therapeutic value, as we shall see. 1. Donald Davidson, “What Metaphors Mean,” in On Metaphor, ed. Sheldon Sacks , p. 30; hereafter abbreviated “WMM.” Davidson’s view has found supporters among both philosophers and literary theorists. It is, for example, important to the early argument of Richard Rorty’s recent book. See his Contingency, Irony, and Solidarity , p. 18. Richard Moran is an assistant professor of philosophy at Princeton University. He is currently working on a book on subjectivity and contemporary concepts of personhood. (shrink)