Thomas Puttfarken was one of the most accomplished and original art historians of the last quarter century. His enormous contribution to the life and work of the University of Essex, where he spent nearly all of his academic career, included vigorous sponsorship of the arts on and off campus, and support for the preservation of the built and natural environments. He was a lover of good food, good wine, good company, and a wide range of music–as well as a talented (...) painter and furniture-maker. (shrink)

Michael Podro; V—A Sense of Complexity in the Visual Arts, Proceedings of the Aristotelian Society, Volume 63, Issue 1, 1 June 1963, Pages 79–98, https://doi.or.

In this article, one of a series he was preparing for publication when he died, Michael Podro discusses how the concept of truthfulness can be applied to paintings, paying particular attention to Cezanne's art and thought.

This essay, part of a special issue on the Warburg Institute and Library, offers personal recollections of scholars whom the author encountered there as a student in the early 1970s, including E. H. Gombrich, Otto Kurz, Michael Baxandall, Frances Yates, D. P. Walker, A. I. Sabra, Michael Podro, Michael Screech, Arnaldo Momigliano, and Nikolaus Pevsner. The author's focus is on differences between the milieu of the Kulturwissenschaftliche Bibliothek Warburg, as it had been in Hamburg, and the (...) ethos of the Warburg Institute in London. The key document for establishing this contrast is an anonymous review — by Edgar Wind — attacking Gombrich's biography of Aby Warburg, which was published in 1970. Wind found the new Warburg circle “Lilliputian” in comparison with the old Hamburg circle, to which he had belonged. This essay disputes Wind's finding, based on its author's own experience, as well as on his sympathy with the reasoned empirical approach of Gombrich, Baxandall, and others at the London Warburg to issues that Aby Warburg had raised when the Library was in Germany. (shrink)

Michael Peters, Sonja Arndt & Marek TesarThis is a collective writing experiment of PESA members, including its Executive Committee, asking questions of the Philosophy of Education in a New Key. Co...

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi (...) Bet Kappa Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html . (shrink)

In 2008, a group of researchers publicly released profile data collected from the Facebook accounts of an entire cohort of college students from a US university. While good-faith attempts were made to hide the identity of the institution and protect the privacy of the data subjects, the source of the data was quickly identified, placing the privacy of the students at risk. Using this incident as a case study, this paper articulates a set of ethical concerns that must be addressed (...) before embarking on future research in social networking sites, including the nature of consent, properly identifying and respecting expectations of privacy on social network sites, strategies for data anonymization prior to public release, and the relative expertise of institutional review boards when confronted with research projects based on data gleaned from social media. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

Viral modernity is a concept based upon the nature of viruses, the ancient and critical role they play in evolution and culture, and the basic application to understanding the role of information and forms of bioinformation in the social world. The concept draws a close association between viral biology on the one hand, and information science on the other – it is an illustration and prime example of bioinformationalism that brings together two of the most powerful forces that now drive (...) cultural evolution. The concept of viral modernity applies to viral technologies, codes and ecosystems in information, publishing, education and emerging knowledge systems. This paper traces the relationship between epidemics, quarantine, and public health management and outlines elements of viral-digital philosophy based on the fusion of living and technological systems. We discuss Covid-19 as a ‘bioinformationalist’ response that represents historically unprecedented level of sharing information from the sequencing of the genome to testing for a vaccination. Finally, we look at the US response to Covid-19 through the lens of infodemics and post-truth. The paper is followed by three open reviews, which further refine its conclusions as they relate to philosophy and the notion of the virus as Pharmakon. (shrink)

In a rich and thought-provoking paper, Lambros Malafouris argues that taking material culture seriously means to be ‘systematically concerned with figuring out the causal efficacy of materiality in the enactment and constitution of a cognitive system or operation’ (Malafouris 2004, 55). As I understand this view, there are really two intertwined claims to be established. The first is that the things beyond the skin that make up material culture (in other words, the physical objects and artefacts in which cultural networks (...) and systems of human social relations are realized) may be essential to the enactment of, and be partly constitutive of, certain cognitive systems or operations. The consequence of establishing this claim is supposed to be that we have a mandate to recast the boundaries of the mind so as to include, as proper parts of the mind, things located beyond the skin. Thus, in talking about the contribution of the world to cognition, Malafouris (2004, 58) concludes that ‘what we have traditionally construed as an active or passive but always clearly separated external stimulus for setting a cognitive mechanism into motion, may be after all a continuous part of the machinery itself; at least ex hypothesi’. This is the position that, in philosophical circles, is known increasingly as the extended mind hypothesis (Clark & Chalmers 1998; Menary forthcoming). Henceforth I shall refer to this hypothesis as EM. A stock example will help bring the idea into view. Rumelhart et al. (1986) note that most of us solve difficult multiplication problems by using ‘pen and paper’ as an external resource. This environmental prop enables us to transform a difficult cognitive problem into a set of simpler ones, and to temporarily store the results of certain intermediate calculations. For the fan of EM, the distributed combination of this external resource and certain inner psychological processes constitutes a cognitive system in its own right. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing specific (...) temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

This paper raises a problem for the pair of views that universals are immanent in their instantiations and that these instantiations, or states of affairs, are somehow constructed from the instantiated universals. It is argued that the pair is inconsistent. The first view implies that universals are prior to states of affairs, whereas the second view implies that states of affairs are prior to universals. This paper does not attempt to solve this problem, but rather to formulate it precisely. That (...) promises to illuminate how to solve the problem if it can be solved, or why it cannot be solved if it is unsolvable. (shrink)

Western Marxism, since its Western deviation and theoretical development in the 1920s, developed in diverse ways that has reflected the broader philosophical environment. First, a theory of conscio...

Does human life have meaning? Ever since Darwin, there has been great skepticism about whether a "meaning of life" was possible outside of religious belief. Is it possible to find meaning in human life? Philosopher of science Michael Ruse examines the question of meaning in life within Darwinian views of human nature. He argues that meaning in the Darwinian age can be found if we turn to a kind of Darwinian existentialism, seeing our evolved human nature as the source (...) of all meaning, both in the intellectual and social worlds. (shrink)

This paper is an experiment in collective writing conducted in Autumn 2019 at the Faculty of Education at Beijing Normal University. The experiment involves 12 international masters' students readi...

European Journal of Political Theory, Ahead of Print. How should responsibility be theorized in the context of the global climate crisis? This question is often framed through the language of distributive justice. Because of the inequitable distribution of historical emissions, climate vulnerability, and adaptation capacity, such considerations are necessary, but do not exhaust the question of responsibility. This article argues that climate change is a structural injustice demanding a theory of political responsibility. Agents bear responsibility not in virtue of their (...) individual causal contribution or capacity, but because they participate in and benefit from the carbon-intensive structures, practices, and institutions that constitute the global political and economic system. Agents take responsibility by engaging in collective political action to transform these structures that generate both climate hazards and unjust relationships of power. By incorporating distributive principles within a capacious conception of political responsibility, this framework advances the theory and practice of climate justice in two ways. First, adopting a relational rather than individualistic criterion of responsibility better makes sense of how and why individuals bear responsibility for a global and intergenerational injustice like climate change. Second, framing climate justice in terms of political responsibility for unjust structural processes better orients and motivates the political action necessary for structural transformation. (shrink)

Das anthropologische Konzept der Verletzlichkeit wird seit einigen Jahren als Alternative zu einem autonomie-zentrierten Zugang zur Medizinethik diskutiert. Was aber genau unter Verletzlichkeit bzw. Vulnerabilität zu verstehen ist, und worin die moralische Relevanz derselben besteht, bleibt eine kontrovers diskutierte Frage. In einem dreijährigen Diskursprojekt haben die Autor/-innen dieses Bandes sich in unterschiedlichen Perspektiven mit dem Konzept der Verletzlichkeit des Menschen befasst. Der Band versammelt als Ergebnis dieses gemeinsamen Diskurses unterschiedliche philosophische, theologische und medizinethische Perspektiven, die sich mit anthropologischen und ethischen (...) Grundlagen des Phänomens der menschlichen Verletzlichkeit, sowie mit seiner Funktion und Relevanz für konkrete medizinethische Fragestellungen befassen. (shrink)

Introduction to the Revised Edition There is a story behind the early history of this book. During the early, the SmithKline Corporation sponsored a ...

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 537 tion of his three dialogues, and of course there are several references to Hume's intern= parable Dialogues. The bibliographic essay is useful with respect to general works and period pieces but unfortunately does little to help those who are seeking further help in understanding an individual writer. Professor France's work is an invaluable guide nevertheless for those who realize that authors, even philosophers, do not write (...) in a cultural vacuum. NICHOLASCAPALDI Queens College, CUNY Die Auseinandersetzung yon ldealismus und Realismus in Fichtes Wissenscha/tslehre. By Ingeborg Schfissler. (Frankfurt am Main: Vittorio Klostermann, 1972. Pp. 182. DM 24.50) For Fichte scholars this closely argued and well organized study of the foundations of Fichte's Wissenscha/tslehre is simply a must. American philosophers generally, however, will not become Fichte enthusiasts after reading this book. But this is not the fault of the authoress, but of Fichte. The key question which Dr. SchiJssler raises is, What role does realism play in Fichte's transcendental idealism? With this question in mind she examines Fichte's "foundation of the entire theory of science" of 1794-1795 and related matters, and the "theory of science" of 1804, together with the lecture of 1813. As Fichte originally saw the task of philosophy it was to explain theoretical, i.e., scientific, consciousness in terms of its own foundation. In 1804, however, the task was conceived as presentation of absolute truth; and in 1813, Fichte tried to understand the theory of science as a theory of appearances. Dr. Schfissler's thesis is that all three approaches are necessary; that, in fact, the changes in Fichte's conception of what a theory of science is or ought to be are grounded in the nature of transcendental philosophy itself. The book is not something one reads for relaxation; its sustained and detailed arguments militate against that. But it is a highly illuminating study, and well worth the effort of careful analysis. W. H. WE~mSTBR Florida State University The Manifold in Perception. Theories of Art.from Kant to Hildebrand. By Michael Pedro. (Oxford: Clarendon Press, 1972. Oxford-Warburg Studies) This is a survey of theories of art of Kant, Schiller, Herbart, Hildebrand, Schopenhauer and Fiedler. One may question the value of a re-statement of this sort, over simply another reading of the works of the authors themselves. Pedro's answer may be found in the Preface and again in a more extended statement in the conclusion. "German aesthetic theory from Kant through to the end of the nineteenth century seemed to contain valuable critical ideas quite absent from contemporary philosophical writing." Pedro's attempt has been to "re-locate notions in current use, like 'aesthetic detachment', within the sustained systematic discourse of which they were once part. This seemed a way both of uncovering a number of assumptions which have been constraining writing on art for some time, and of clarifying a number of crucial insights of earlier theorists." The author's account is almost entirely expository, its negative critical questions being limited almost exclusively to Herbart. Yet even here, when the author indicates that Herbart's theory of mind "exhibits certain very basic logical difficulties," he adds that 538 HISTORY OF PHILOSOPHY "they are difficulties which have a particular importance in the discussion of art.... " Podro's clarification is largely made through the asking of questions which the authors themselves did not ask and then suggesting answers to these questions in the light of what the authors did say. The two chapters on Schiller form the core of the book. Schiller's theory of art and aesthetic education of man is placed as central to Podro's account of an aesthetic tradition beginning with Kant and ending with Fiedler. The "tradition" detailed in Podro's book is described as having two underlying assumptions. The first was that any account of art must indicate distinctive or at least characteristic uses of our perception, uses which if not exclusive to art are at least necessary to it, and which are seen in art in a particularly striking way. The second assumption was that art involves our attitudes, in the sense of our serious purposes as... (shrink)

Imagine that Bloggs is faced with a choice between giving a benefit to his child, or a slightly greater benefit to a complete stranger. The benefit is whatever the child or the stranger can buy for $100 — Bloggs has $100 to give away — and it just so happens that the stranger would buy something from which he would gain a slightly greater benefit than would Bloggs's child. Let's stipulate that Bloggs believes this to be, and let's stipulate, as (...) well, that he believes that the consequences of his actions are otherwise identical. He chooses to give the benefit to his child. What do we learn about Bloggs from his choice? We learn that Bloggs cares more about his child than he does about complete strangers. Nor is anyone likely to be surprised by this, for it just goes to show that he is much like the rest of us. He gives preferential treatment to his nearest and dearest when he acts, those with whom he has a special relationship, much as we do. (shrink)

We present a number of equivalent calculi for many-valued logics and prove soundness and strong completeness theorems. The calculi are obtained from the truth tables of the logic under consideration in a straightforward manner and there is a natural duality among these calculi. We also prove the cut elimination theorems for the sequent-like systems.