This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

This book opens by providing the historical context of Plato’s engagement with education, including an overview of Plato’s life as student and educator. The author organizes his discussion of education in the Platonic Corpus around Plato’s images, both the familiar – the cave, the gadfly, the torpedo fish, and the midwife – and the less familiar – the intellectual aviary, the wax tablet, and the kindled fire. These educational images reveal that, for Plato, philosophizing is inextricably linked to (...) learning; that is, philosophy is fundamentally an educational endeavor. The book concludes by exploring Plato’s legacy in education, discussing the use of the “Socratic method” in schools and the Academy’s foundational place in the history of higher education. The characters in Plato’s dialogues often debate – sometimes with great passion – the purpose of education and the nature of learning. The claims about education in the Platonic corpus are so provocative, nuanced, insightful, and controversial that educational philosophers have reckoned with them for millennia. (shrink)

Economic theory teaches that it is in every country’s interest to trade. Trade is a voluntary activity among consenting parties. On this view, considerations of justice have little bearing on trade, and political philosophers concerned with global justice should stay largely silent on trade. According to a very different view that has recently gained prominence, international trade can only occur before the background of an international market reliance practice shaped by states. Trade is a shared activity among states, and all (...) participating states have in principle equal claims to gains from trade. Trade then becomes a central topic for political philosophers. Both views are problematic. A third view about the role of trade in a theory of global justice is then presented, which gives pride of place to a notion of exploitation. The other two views should be abandoned. (shrink)

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"Churchland and Hooker have collected ten papers by prominent philosophers of science which challenge van Fraassen's thesis from a variety of realist perspectives. Together with van Fraassen's extensive reply... these articles provide a comprehensive picture of the current debate in philosophy of science between realists and anti-realists."—Jeffrey Bub and David MacCallum, Foundations of Physics Letters.

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

(1994). Equipotential recipes for unambiguous images: A reply to Rollins. Philosophical Psychology: Vol. 7, No. 3, pp. 359-366. doi: 10.1080/09515089408573129.

This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" in (...) any modern sense, Janaway seeks both to understand Plato's critique in the context of his own philosophy and to locate him in today's philosophy of art, showing how issues in aesthetics arise from responses to his charges. (shrink)

While much has been written about verbal narratives, we still lack a clear account of what makes images narrative. I argue that there are narrative characteristics of images and show this with examples of single images. The argument proceeds in three steps. First, I propose that from a semantic perspective, the following two characteristics are necessary for an image to be narrative: a representation of an event and a representation of time. Second, I argue that there are (...) paradigmatic characteristics, such as at least two events, bridging connections, and unifying subjects between these events, characters with intentions, and the representation of goal-directed actions. Third, I show that it is possible to differentiate between narrative and non-narrative images while also accounting for the idea that narrativity is a matter of degree. While I do not provide a full definition of narrative images, my account constitutes a necessary first step in this direction. (shrink)

This article provides, for the first time, an overview of all images (drawings and prints) sent by the Dutch microscopist Antoni van Leeuwenhoek (1632–1723) to the Royal Society during their fifty-year long correspondence. Analyses of the images and close reading of the letters have led to an identification of three periods in which Leeuwenhoek worked together with artists. The first period (1673–1689) is characterized by the work of several draughtsmen as well as Leeuwenhoek’s own improving attempts to depict (...) his observations. In the second period (1692–1712) Leeuwenhoek worked together with one unknown draughtsman, while the work in the third period (1713–1723) can now be attributed to the young draughtsman Willem vander Wilt. This article also shows how Leeuwenhoek did not only rely on draughtsmen for the depiction of his own observations, but rather, how he worked together with them in his workshop to observe, confirm, and witness microscopic experiments, replicating the collaborative working methods of the Royal Society in Delft. (shrink)

The Way of Ideas died an ignoble death, committed to the flames by behaviorist empiricists. Ideas, pictures in the head, perished with the Way. By the time those empiricists were supplanted at the helm by functionalists and causal theorists, a revolution had taken place in linguistics and the last thing anyone wanted to do was revive images as the medium of thought. Currently, some but not all cognitive scientists think that there probably are mental images - experiments in (...) cognitive psychology (e.g. Shepard and Metzler 1971) have shown it to be plausible to posit mental images. Even so, the phenomenon of mental imagery has been largely regarded as peripheral in cognition, perhaps even epiphenomenal. Images cannot fix the content of thought (intentions, rules), the Wittgenstein story went. The central processes of thought, so the post-Wittgenstein story goes, require a propositional representation system, a language of thought, universal and modeled on the machine languages of computers. The language of thought is compositional, productive, and, leading advocates argue, has a causal semantics. Images lack all of these essential qualities and so are hopeless as key players in thinking. (shrink)

fMRI promises to uncover the functional structure of the brain. I argue, however, that pictures of ‘brain activity' associated with fMRI experiments are poor evidence for functional claims. These neuroimages present the results of null hypothesis significance tests performed on fMRI data. Significance tests alone cannot provide evidence about the functional structure of causally dense systems, including the brain. Instead, neuroimages should be seen as indicating regions where further data analysis is warranted. This additional analysis rarely involves simple significance testing, (...) and so justified skepticism about neuroimages does not provide reason for skepticism about fMRI more generally. (shrink)

The ArgumentIn this article I argue that brain images constructed with computerized tomography (CT) and positron emission tomography (PET) are part of a category of “expert images” and are both visually persuasive and also particularly difficult to interpret and understand by non-experts. Following the innovative judicial analogy of “demonstrative evidence” traced by Jennifer Mnookin (1998), I show how brain images are more than mere illustrations when they enter popular culture and courtrooms. Attending to the role of experts (...) in producing data in the form of images, in selecting extreme images for publication, and in testifying as to their relevance, I argue that there is an undue risk in courtrooms that brain images will not be seen as prejudiced, stylized representations of correlation, but rather as straightforward, objective photographs of, for example, madness. (shrink)

Abstract Aristotle's account of Phantasia in De Anima 3.3 is notoriously difficult to decipher. At one point he describes Phantasia as a capacity for producing images, but then later in the same chapter it is clear Phantasia is supposed to explain appearances, such as why the sun appears to be a foot wide. Many commentators argue that images cannot explain appearances, and so they claim that Aristotle is using Phantasia in two different ways. In this paper I argue (...) that images actually explain perceptual appearances for Aristotle, and so Phantasia always refers to images. I take a new approach to interpreting DA 3.3, reading it alongside Plato's Theaetetus and Sophist . In the Theaetetus , Socrates explains how memory gives rise to perceptual appearance. I claim that Aristotle adopts Socrates' account of perceptual appearance, but what Socrates calls memory, Aristotle calls Phantasia. (shrink)

In the past twenty years, all the key authors who wrote about the state of postmodernity either began to be engaged in other research areas (Fredric Jameson) or declared that the postmodernism is dead (Linda Hutcheon). Since 2000, when the fatigue from the postmodernism became evident to everyone, various researchers, critics and theorists began to offer their concepts of our era. However, all these theories, emphasizing the change of cultural paradigms, interpret culture traditionally not paying attention to total digitalization and (...) the introduction of new technologies into our lives. However, in two concepts of our time these processes become central. These are the concepts of the digimodern and automodern. The focus of this article is the idea of automodernism, proposed by the American social theorist Robert Samuels in 2007/2009. He believes that our world is characterized by two contradictory tendencies – automation and the desire for autonomy (personal freedom). From his point of view, the former often does not allow to reach the latter due to certain circumstances. Samuels, using the example of a car, a personal computer, the Internet, etc., shows what exactly our culture is in the broadest sense. Analyzing the concept of “digital youth,” he also pays attention to the formation of a new subjectivity of the era of automodernity. Finally, the most interesting part of the concept of automodernism, which is most relevant today, is the criticism of leftwing social and philosophical concepts (Slavoj Žižek, Jameson) and cultural theories (Henry Jenkins). At the end of the article, the author mentions Adam Greenfield’s latest book Radical Technologies: The Design of Everyday Life. Thanks to this book, Samuels’ theory can be verified. (shrink)

In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce's sixty-six classes (...) of signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes. (shrink)

Many caricaturists get the idea for their caricature from current issues of society. The philosophy of the caricature lies in the opinion it presents, which discusses society’s goals, culture, and crises, and it is represented in an ironic way to deliver its visual message. The fight for women’s rights, inequality, and discrimination are examples of issues concerning Saudi women that have been represented by several caricaturists. Hence, the aim of this paper is to investigate female and male caricaturists’ linguistic and (...) semiotic representation of Saudi women’s challenging issues. Following (Kress and Van Leeuwen. 2006. Reading images: The grammar of visual design, 2nd edn. London: Routledge), a social semiotic multimodal approach to the analysis is adopted in this study, which is drawn from Halliday’s social semiotic theory. Twenty caricatures were carefully selected based on the content and the issues that are being discussed in the caricatures with a consideration of their relation to the aim of the study. The present study contributes to enriching Saudi women’s rights in relation to Saudi Vision 2030. The research is significant in that, in examining women/male caricaturists’ representations of the challenges and opportunities of Saudi women empowerment prior/after Saudi Vision 2030 in the workplace, social life, it contributes to understanding the supportive caricature discourse, basic social values for Saudi women, the pressures they undergo, and the success they have achieved so far in attaining their rights. The study findings show that both the semiotic and verbal elements of the caricatures were significant in delivering the messages for women’s rights in the new Saudi. (shrink)

Featuring more than one hundred of his photographs in every genre, this book celebrates Hervé's work as an artist, creating images that serve not simply as records but stand as works of a singular imagination.

The questions addressed in research on mental imagery have become more refined as experimental techniques have become more exact. One issue that has emerged in current work is whether, or in what ways, imaging is like perceiving. Daniel Reisberg and Deborah Chambers have devised a series of experiments that put that question to the test by asking whether images can be reinterpreted in the same ways that perceptual objects can be reinterpreted. They argue that the evidence points to a (...) negative conclusion. Other psychologists have responded, and a debate has ensued. The debate, intersects with philosophy in two ways: (i) philosophers have appropriated the empirical results in defence of their views on imagery; and (ii) psychologists on both sides have argued about the role of 'philosophical considerations' in evaluating the results. My aim is to clarify the issues at stake, to dispel certain confusions apparent in the literature, and to show that recent research does not support the claim that imaging is unlike perceiving in specific respects. (shrink)

Levinas’s comments on art appear contradictory. On the one hand, he criticizes art as being disengaged from ethical concerns and constituting a possibility of moral evasion; on the other hand, he engages quite closely and in a supportive fashion with some art, such as Paul Celan’s poetry. Interpreters commonly argue that only one of Levinas’s conceptions of art, either the affirmative or the negative, represents his true attitude towards art. In this article the author seeks to make both statements compatible (...) with each other and thus relevant to Levinas’s conception of art. She focuses on his essay ‘Reality and Its Shadow’, where art is diagnosed as an ambiguous phenomenon. She argues that full understanding of the ambiguity of art demands that Levinas’s different statements about art are considered together; only thus can the complete picture of the ambiguity emerge. Furthermore, it turns out that the very same feature which makes art open to misunderstanding – namely, its precarious materiality – also allows an artwork to sustain itself and to be revived. Art reveals a shadow, withdrawal, or resistance that belongs to reality itself. (shrink)

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Problems concerning scientists’ uses of representations have received quite a bit of attention recently. The focus has been on how such representations get their contents and on just what those contents are. Less attention has been paid to what makes certain kinds of scientific representations different from one another and thus well suited to this or that epistemic end. This article considers the latter question with particular focus on the distinction between images and graphs on the one hand and (...) descriptions and related representations on the other. *Received January 2008; revised September 2009. †To contact the author, please write to: Department of Philosophy, Dartmouth College, Hanover, NH 03755; e‐mail: [email protected]. (shrink)

Humans are emotionally affected by cute or infantile appearances, typical of baby animals and humans, which in turn often leads to careful and cautious behavior. The purpose of this pre-registered study was to examine whether looking at cute images of baby pets improves performance of computerized cognitive-motor tasks. Ninety-eight participants were recruited for this online study and were randomly assigned to two experimental groups. The participants in one group performed two cognitive-motor tasks (Simon task and alternate task-switching task) before (...) and after viewing images of adult pets and the participants in the other group performed the tasks before and after viewing images of baby pets. The participants who viewed images of baby pets rated them as significantly cuter (Cohen’sd= 0.50) and more infantile (Cohen’sd= 1.56) compared with those who viewed images of adult pets. All participants improved their performance from the pre-test to the post-test, but no differences in correct responses and reaction times were seen between the groups. However, pet ownership appeared to serve as a moderating variable with pet owners performing the Simon task faster than non-pet owners. In addition, pet owners reacted faster in the alternate task-switching task after viewing cute and infantile images but not after viewing images of adult pets. This effect was not found among non-pet owners. In conclusion, this study did not find that viewing cute images improves cognitive-motor performance, yet this may be dependent on moderators like pet ownership. (shrink)

This chapter explores the role that non-textual narrations of biblical stories can play in Christian life and practice. Our case study is the Shrine of Divine Mercy in Kabuga, Rwanda. The stations at the shrine tell the story of Jesus’s life and passion, incorporating images from the Catholic devotional tradition of Divine Mercy and elements evoking the Rwandan genocide. While many philosophical accounts of narratives presuppose that narratives are textual, material and visual art like the Kabuga shrine can also (...) be narrative, in that, like text, material and visual art can selectively represent multiple events and connections between them. We argue that material-visual narratives like the shrine can be effective in achieving commonly identified functions of narratives, such as focusing attention, immersing in a story, engaging the emotions, and fostering a common perspective on the world. We further argue that material-visual art is well-suited to narrating the Gospel in particular, for it can present the Gospel story alongside other stories (in this case, the story of the Rwandan genocide) and in so doing reframe these other stories in light of the Gospel. (shrink)

The surviving pictorial hagiographical cycles of St Panteleimon were executed in the period between the 10th and 15th centuries. The most elaborate one is on a vita icon, consisting of sixteen scenes, at the monastery of St Catherine, Mt. Sinai and is at the centre of this research. The painter used the Passion of St Panteleimon by Symeon Metaphrastes as a main textual source for its creation. In addition, we may presume that the iconography of the images was influenced (...) by other existing pictorial cycles of the life of the saint. Also, the selection of the images, included in the saint's cycle, reflects the devotional needs and wishes of the unknown donor. (shrink)

This paper seeks to articulate the significance of an intimate connection that exists between faces and images. It argues that the manner in which images face us – a picture's turning toward a viewer – is the primary condition of its meaningfulness. The article explicates the significance of an image's facing through a dialogue with Emmanuel Levinas's philosophical understanding of the human face. The analogy I draw between Levinas's notion of the face and the facing of images (...) runs against predominant readings of Levinas which emphasize the Levinasian ambivalence, not to say hostility, toward the visual, and the clear opposition he makes between the face's infinity and the finite and objectifying essence of images. My aim, however, is to show that there is an interesting sense in which Levinas's reflections on the human face offer, perhaps in spite of Levinas, a crucial prism for approaching pictures: I show that the Levinasian face can be understood in a manner that illuminates a dimension of alterity in pictures, one that remains uncontainable and, as such, questions the responsibility of the interpreter and opens up the ethical depth of the image. As a central case study, I turn to a series of provocative graffiti images, chimeric animal-human faces, which were created by Klone, a Tel Aviv-based street artist. (shrink)

In this article we consider linear isomorphisms over the field of rational numbers between the linear spaces ℝ2 and ℝ. We prove that if f is such an isomorphism, then the image by f of the unit disk is a strictly nonmeasurable subset of the real line, which has different properties than classical non-measurable subsets of reals. We shall also consider the question whether all images of bounded measurable subsets of the plane via a such mapping are non-measurable.

The author applies a feminist analysis to animal advocacy initiatives in which gendered and racialized representations of female sexuality are paramount. Feminists have criticized animal advocates for opposing the oppression of nonhuman animals through media images that perpetuate female objectification. These critiques are considered through a close examination of two prominent campaigns by PETA (People for the Ethical Treatment of Animals). The author argues that some representations of female sexuality may align with a posthumanist feminist ethic and need not (...) be read as sexist. Examining PETA’s famous anti-fur ads and the more recent Milk Gone Wild campaign, the author identifies where PETA’s campaigns are objectionable under a feminist ethic and where they are subversive of an anthropocentric and male-dominated order alike. The article thus recuperates part of PETA’s work from feminist critiques, but also reveals the constructions posthumanist advocacy should exclude to avoid elevating the status of nonhuman animals at the expense of women. (shrink)

This article examines the work of three artists – Harun Farocki, Hito Steyerl and Rabih Mroué – who in different ways mobilize the cinematic device of ‘shot/countershot’ in two distinct post-cinematic contexts (the moving image installation and the performance lecture) as a tool for scrutinizing images of war and violence from divergent historical, socio-economic, geopolitical and ethical perspectives. In returning to and reworking this classical cinematic device as an experimental and essayistic mode of montage and critical reflection, all three (...) artists, as I argue, variously seek to counter the ideological naturalization and interpretive framing of representations of war and violence under conditions of digitalization and globalization, as well as to interrogate the interconnections between forms of direct, symbolic and systemic violence. (shrink)