In this paper I point out main shortfalls of the three main families of theories of perception and I propose a sort of inferential realism. In addition, I argue that there cannot be a scientific variant of direct realism and illustrate this point with reference to P.F.Strawson's attempt to reconcile, not naïve realism and the scientific variant as he amounts to, but rather, direct and indirect realism. I draw the distinction between four cases of illusion, and I refer to (...) one of these, namely to the case of veridical illusion, to show that Strawson's view, put in terms of the Fregean sense-reference distinction, fails. As regards indirect realism, I argue against the representationalist account and the Lockean picture of primary and secondary qualities. Phenomenalism is rejected in terms of the impossibility to identify an object throughout different contexts and I suggest that what is for x to be that x in different contexts can be given only by a realist analysis of a material object. Finally, I provide an account of what it is for A to perceive that x with respect to different contexts and I conclude with what conditions should veridical perception meet and therefore propose the framework of a new theory of perception. (shrink)

This book develops and defends a version of direct realism: the thesis that perception gives us direct awareness, and non-inferential knowledge, of the external..

The fallacy in Berkeley's argument for idealism is identified.

Causal accounts of perception are often believed to lead inevitably to the conclusion that we only indirectly perceive things. The paper argues that there are no incompatibilities between accepting causal accounts of perception (e.G., Many scientific explanations of perception) and holding that we directly perceive physical objects, Without the mediation of sense data. Further, There are strong analogical arguments which support the view that talk of causal accounts of perception is consistent with the philosophical position of (...) direct realism. (shrink)

McDowell has argued that external world scepticism is a pressing problem only in so far as we accept, on the basis of the argument from illusion, the claim that perceiving that p and hallucinating that p involve a highest common factor.

Suppose our visual experiences immediately justify some of our beliefs about the external world — that is, justify them in a way that does not rely on our having independent reason to hold any background belief. A key question now arises: Which of our beliefs about the external world can be immediately justified by experiences? I address this question in epistemology by doing some philosophy of mind. In particular, I evaluate the following proposal: if your experience e immediately justifies you (...) in believing that p , then (i) e has the content that p , and (ii) e ’s having the content that p is fixed by what it is like to have e . I start by clarifying this proposal and surveying the case in its favour. I then argue against the proposal and develop an alternative. The discussion shows what role visual consciousness plays and does not play in the justification of perceptual beliefs. (shrink)

In this book, Michael Huemer defends direct realism and uses it against skepticism. His version of direct realism has both a metaphysical and an epistemological component. Let us begin by discussing Huemer’s analysis of the metaphysics of perception.

This symposium comprises five papers on Locke's theory of sense perception. The authors are John Rogers, Gideon Yaffe, Lex Newman, Tom Lennon, and Martha Bolton. There are also comments on the papers, both individually and as a group, by Vere Chappell. In addition to Locke's view of perception, the papers deal with the nature of Lockean ideas and with the question whether Locke is committed to skepticism regarding the external world. The authors (and the commentator) disagree in their (...) readings of Locke on these issues, but most maintain--and some argue--that he holds a representative theory of perception, and that he is not an external-world skeptic. (shrink)

Interpreters of Locke’s Essay are divided over whether to attribute to him a Representational Theory of Perception (RTP). Those who object to an RTP interpretation cite (among other things) Locke’s Book IV account of sensitive knowledge, contending that the account is incompatible with RTP. The aim of this paper is to rebut this kind of objection – to defend an RTP reading of the relevant Book IV passages. Specifically, I address four influential assumptions (about sensitive knowledge) cited by opponents (...) of an RTP interpretation and argue that in each case the assumption is false. (shrink)

Margaret Cavendish’s views about the nature of bodies and perception leave her with a potentially problematic implication: that light has no role in visual perception. For her, perception occurs through the self-motion of animate matter, not through a mechanical system that appeals to local motions and collisions of contiguous bodies. This means that motion is not transferred from external objects with light playing a mediating role; the matter of our eyes simply moves itself to copy the sensible (...) qualities of external bodies. However, Cavendish cannot ignore the simple empirical fact that we appear to have visual perceptions in the presence of light but not in the presence of darkness. Light must play some role. I argue that light for Cavendish plays an intermediary role but does not transfer motions as the mechanical model suggests. Rather, light behaves like our eyes by moving itself to form copies of external objects. Our eyes then see these copies. For Cavendish, we are directly acquainted with a “veil of light” rather than the objects themselves. (shrink)

John Yolton has argued that Locke held a direct realist position according to which sensory ideas are not perceived intermediaries, as on the representational realist position, but acts that take material substances as objects. This paper argues that were Locke to accept the position Yolton attributes to him he could not at once account for appearance‐reality discrepancies and maintain one of his most important anti‐nativist arguments. The paper goes on to offer an interpretation of Locke's distinction between ideas of substances (...) and modes, a distinction that helps Locke to explain appearance‐reality discrepancies, although not in a large enough range of cases to strengthen Yolton's interpretation. (shrink)

Sheldon Brivic has an immediately idealist and ultimately religious view of language and literature; he is devoted to Berkeley and Hegel, turns phenomenology into what he wittily calls "phonemonology" , and is much preoccupied with the individuality, personality, and god-like authority of the author. For Brivic, history is mainly important insofar as it passes through the mind of the author , and political criticism is readily construed as "narrowly political" , particularly if it seems insufficiently respectful of a favored character. (...) With the partial exception of phenonemology, these are not habits of thought with which I instinctively sympathize, though I do respect them and would certainly expect to learn something from them, especially when it comes to the practical criticism of Joyce, which is what I found most rewarding in the book; Brivic has a sensitive chapter on the consciousness of Stephen in the "Proteus" episode of Ulysses, as well as some noteworthy ideas on the echoing interactions between Stephen and Bloom and the more contentious relationship between Shem and Shaun in Finnegans Wake. Though he doesn't use the term, the homosocial bond would seem to be his long suit; since he does on page 160 use the phrase "between men," I think he could profitably have consulted Eve Kosofsky Sedgwick's l985 book of the same name. Requests for reprints should be sent to Michael Walsh, Ph.D., Department of English, University of Hartford, West Hartford, Connecticut 06117. (shrink)

Philosophers of race and other writers in the Black and Latinx intellectual traditions have remarked on what it is like to live under “the racial gaze,” to be shaped and limited by the way whites perceive us. However, little work has been spent developing how the racial gaze functions in whites’, and other racially privileged people’s, moral psychology. I argue in this paper that there is a morally objectionable way of perceiving people of color. This claim builds on an insight (...) from Iris Murdoch that our perception can be morally evaluable and extends it to issues of race. I articulate how racial stereotypes and misvaluing distort one’s perception of people of color and that these distortions are organizing around a dominant conception for race that plays an important role in the oppression of people of color. I believe understanding racist perception lays a foundation for understanding the moral dimensions of interpersonal (as opposed to structural) racism. (shrink)

Mackie outlines Locke's representationalist theory. He analyses the relation between representationalism and the picture theory of ideas. The theory's relation to the veil of perception doctrine is also critically examined. Mackie criticizes the verificationist theory of meaning and instead argues that ideas should be understood as intentional objects. Mackie introduces and defends a version of realism, which he calls ‘common‐sense realism’.

One might think that the best metaphysical theory of the world includes the existence of other minds and of the physical world, while denying that we can know or be certain that this theory is true. This chapter considers Solipsism as a theory about reality. It examines the Veil of Perception, and then considers a series of direct arguments against the Solipsistic Veil, Phenomenalism, and Solipsism itself. The chapter looks at two obviously inadequate arguments for the (...) class='Hi'>Veil, namely, Berkeley's inconceivability argument and the argument from causal mediation. Then, the chapter looks at two much more interesting and important arguments, namely, the argument from hallucination and illusion and the argument from color and other secondary qualities. Besides the Veil of Perception, arguments for Idealism and Solipsism depend on an appeal to Ockham's Razor. These arguments can be taken either as providing additional support for Perceptual Realism or as a defense of Inferred Anti‐Idealism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:"The Veil of Maya": Schopenhauer's System and Early Indian ThoughtStephan Atzert"The Veil of Maya": Schopenhauer's System and Early Indian Thought. By Douglas Berger. Binghamton: Global Academic Publishing, 2004. Pp. 319.Arthur Schopenhauer's (1788-1860) philosophy combines a number of inquiries into epistemology, metaphysics, ethics, aesthetics, and psychology. Schopenhauer read widely in several languages and incorporated many influences, including his reading of Anquetil Dupperon's Latin translation of selected Upanishads. (...) From a contemporary perspective it is fair to say that Schopenhauer does not offer a systematic philosophy, internally consistent in all its parts, but rather a philosophical approach that is descriptive and sensitive to a wide range of issues. Despite definite exceptions, the strength of Schopenhauer's writing lies in his attempt to be descriptive about the human experience, in combination with a willingness to incorporate its possibilities, and therefore his writings provided, and still do provide, points of departure for a wide variety of investigations.Schopenhauer became especially popular with artists, due to the fact that he proposed a metaphysical theory of art that offered artists possibilities for self-flattering. Aside from the role he played for Nietzsche, this is perhaps the only area in which Schopenhauer's impact is well understood. By contrast, Schopenhauer's decisive role in the development of Freud's psychoanalytic theory has only begun to be appreciated in the past few years. And although there exists a significant tradition of relating Advaita Vedānta and Buddhism to Schopenhauer's philosophy-the approaches of Paul Deussen, Helmuth von Glasenapp, and Wilhelm Halbfass marking conceptual shifts in this tradition-truly comprehensive perspectives are emerging only now. The fascinating exploration of Schopenhauer's exposure to relevant indological texts, commentaries, and scholars is still far from complete, as only a comparatively small selection of Schopenhauer's manuscript remains has been published, by Arthur Hübscher in 1966. As recently as 1998 Urs App was able to conclude, from his study of Schopenhauer's unpublished annotations to the Asiatick Researches, that it has been a misconception-although one carefully nourished by Schopenhauer himself-to assume that Indian concepts only confirmed what Schopenhauer had conceptualized intuitively of his own accord. Douglas Berger's timely study, "The Veil of Maya": Schopenhauer's System and Early Indian Thought, shows that this case can be made by way of a careful analysis of the development of Schopenhauer's philosophy without recourse to unpublished manuscript remains. In this respect Berger states:After reading Schopenhauer for some years, I became convinced that some crucial aspects of his system, specifically how he made argumentative transitions from epistemology to metaphysics to ethics, transitions about which much dispute still rages in the secondary literature, could not be well assessed without taking into consideration how Scho-penhauer understood the Upanishadic and Vedantic notion of maya.(p. xii) [End Page 675]On the basis of the published manuscript remains Berger traces how the early system developed. Here Berger shows very convincingly that the formation of Schopenhauer's system was strongly influenced by his appropriation of one particular element of Hinduism-or better, of Brahmanic world views-namely the idea of maya. Maya in the Upanishads is "most often identified to be the magical power of God employed to create the world and then to hide behind the matter out of which it was made" (p. 62). As Berger has traced in the manuscript remains,Schopenhauer develops an understanding of maya over time which makes it at once an epistemological category of falsification and an existential fetter that causes human beings to comport themselves... in an ethically pernicious way. More specifically Scho-penhauer believes maya to be a way the world appears to us as something it is not.... Epistemologically, maya entails an erroneous perception of things and a fallacious assessment of their nature; axiologically, it is the inauthentic valuation of world and other; metaphysically, it is the mere phenomenal appearance of a noumenal reality; and ethically, it leads to an unjustifiable alienation of other from self.(p. 63)In Schopenhauer's own words from a manuscript dating to 1814:In so far as he is alive... a human being... is doomed not merely to... (shrink)

We can make a good prima facie case for the inconsistency of Reid's theory of perception with his rejection of the Ideal Theory. Most scholars believe Reid adopts a theory on which the immediate object of perception is a physical body. Reid is thought to do this in order to avoid problems generated by the veil of perception in the Ideal Theory, a conjunction of commitments Reid closely associates with Hume and Locke. Reid explains that the (...) Ideal Theory "leans with its whole weight upon a hypothesis...[t]hat nothing is perceived but what is in the mind which perceives it". Reid attributes to the Ideal Theory thesis. (shrink)

What makes a veil of perception? Is it merely would-be objects of perceptual awareness, extraneous to the ‘environmental realities’ of which we judge? Or is it merely the presence of something extraneous along the route from perceptual awareness to awareness that our environment is thus and so? In his Mark Sacks lecture John McDowell seems to suppose something like the first answer. This essay argues for the second, thus that he himself imposes such a veil.

The chapter focuses on attributions of the transparency of thought to early modern figures, most notably Descartes. Many recent philosophers assume that Descartes believed the mind to be “transparent”: since all mental states are conscious, we are therefore aware of them all, and indeed incorrigibly know them all. Descartes, and Berkeley too, do make statements that seem to endorse both aspects of the transparency theses (awareness of all mental states; incorrigibility). However, they also make systematic theoretical statements that directly countenance (...) “unnoticed” thoughts or mental states, that is, thoughts or mental states of which the subject is unaware and has no knowledge. Descartes, having identified the essence of mind with thought or representation, distinguishes bare states of mind from states of which we have reflective awareness, thereby providing a theoretical tool for understanding both his seeming endorsement of transparency and his actual denial of it: Descartes distinguished between a basic perceptual state, or a basic awareness, and reflectively conscious states that involve explicit noticing and cognizing on the part of the subject. Leibniz (as is better known) directly endorsed a similar distinction between bare perception and reflective consciousness, using the term “perception” for the first and “apperception” for the second. In these cases, bare perceptions are not transparently available to the subject, and so in fact the subject does not have knowledge, hence does not have incorrigible knowledge, of all its occurrent mental states. This chapter gives evidence to support these claims; elaborates the complex psychology of the subject found in Descartes and other early moderns; and notes some ways in which these early moderns contributed to the genesis of the modern subject. Finally, it compares McDowell’s conception of the Cartesian mind with the conceptions of mind found in the writings of Descartes, Berkeley, and Leibniz, finding that his characterization caricatures the positions of early modern philosophers. McDowell's characterization has four elements: consciousness as essence of mind; intentionality as exclusively mental; the veil of perception; and the transparency of mind. Only the second point, about intentionality, fully fits Descartes. As a consequence of his own misdirection, McDowell misses the actual basis of his difficulty in connecting mind with world, which arises from a point of agreement between him and Descartes: the removal of intentionality from material sensory systems. But whereas Descartes could relocate (nonconceptual) sensory intentionality in mental states, McDowell is left to account for it with his overly cognitivized scheme of perceptual content as exclusively conceptual. (Paper first given at the European Society for Early Modern Philosophy, 2007.). (shrink)

This article goes behind stereotypes of Muslim veiling to ask after the representational structure underlying these images. I examine the public debate leading to the 2004 French law banning conspicuous religious signs in schools and French colonial attitudes to veiling in Algeria, in conjunction with discourses on the veil that have arisen in other western contexts. My argument is that western perceptions and representations of veiled Muslim women are not simply about Muslim women themselves. Rather than representing Muslim women, (...) these images fulfill a different function: they provide the negative mirror in which western constructions of identity and gender can be positively reflected. It is by means of the projection of gender oppression onto Islam, and its naturalization to the bodies of veiled women, that such mirroring takes place. This constitutes, I argue, a form of racialization. Drawing on the work of Fanon, Merleau-Ponty and Alcoff, I offer a phenomenological analysis of this racializing vision. What is at stake is a form of cultural racism that functions in the guise of anti-sexist and feminist liberatory discourse, at once posing a dilemma to feminists and concealing its racializing logic. (shrink)

In this first book-length examination of the Cartesian theory of visual perception, Celia Wolf-Devine explores the many philosophical implications of Descartes’ theory, concluding that he ultimately failed to provide a completely mechanistic theory of visual perception. Wolf-Devine traces the development of Descartes’ thought about visual perception against the backdrop of the transition from Aristotelianism to the new mechanistic science—the major scientific paradigm shift taking place in the seventeenth century. She considers the philosopher’s work in terms of its (...) background in Aristotelian and later scholastic thought rather than looking at it "backwards" through the later work of the British empiricists and Kant. Wolf-Devine begins with Descartes’ ideas about perception in the _Rules _and continues through the later scientific writings in which he develops his own mechanistic theory of light, color, and visual spatial perception. Throughout her discussion, she demonstrates both Descartes’ continuity with and break from the Aristotelian tradition. Wolf-Devine critically examines Cartesian theory by focusing on the problems that arise from his use of three different models to explain the behavior of light as well as on the ways in which modern science has not confirmed some of Descartes’ central hypotheses about vision. She shows that the changes Descartes made in the Aristotelian framework created a new set of problems in the philosophy of perception. While such successors to Descartes as Malebranche, Locke, Berkeley, and Hume accepted the core of his theory of vision, they struggled to clarify the ontological status of colors, to separate what is strictly speaking "given" to the sense of sight from what is the result of judgments by the mind, and to confront a "veil of perception" skepticism that would have been unthinkable within the Aristotelian framework. Wolf-Devine concludes that Descartes was not ultimately successful in providing a completely mechanistic theory of visual perception, and because of this, she suggests both that changes in the conceptual framework of Descartes are in order and that a partial return to some features of the Aristotelian tradition may be necessary. (shrink)

In at least some cases of justified perceptual belief, our perceptual experience itself, as opposed to beliefs about it, evidences and thereby justifies our belief. While the phenomenon is common, it is also mysterious. There are good reasons to think that perceptions cannot justify beliefs directly, and there is a significant challenge in explaining how they do. After explaining just how direct perceptual justification is mysterious, I considerMichael Huemers (Skepticism and the Veil of Perception, 2001) and Bill Brewers (...) (Perception and Reason, 1999) recent, but radically different, attempts to eliminate it. I argue that both are unsuccessful, though a consideration of their mistakes deepens our appreciation of the mystery. (shrink)

This memorial essay on the French historian of philosophy Pierre Hadot (1922–2010) explores his life and work. Starting out from an ecclesiastical background and education, Hadot's interest in mysticism led him to study the late Greek Neoplatonists Plotinus and Porphyry, as well as the Latin Church Fathers. Elected first to the École pratique des hautes études and then to the Collège de France, Hadot developed his most influential idea, that ancient philosophy was not the construction of an abstract system of (...) ideas, but a concrete, lived practice intended to transform the perception and being of the practitioner, and thereby to ensure his or her happiness. Later in his career, Hadot, influenced by German Romanticism and above all by Goethe, turned to study the history of the concept of nature from classical to modern times. The breadth of his interests and the novelty of his approach account for the wide interest in his works, extending to circles that extend far beyond the disciplines of classical studies and the history of philosophy. (shrink)

The question of the existence and the properties of time has been subject to debate for thousands of years. This considered and complete study offers a contrastive analysis of phenomenologies of time from the perspective of the problematics of the visibility of time. Is time perceptible only through the veil of change? Or is there a naked presence of 'time itself'? Or has time always effaced itself? McClure's new work also stages confrontations between phenomenology of time and analytical philosophy (...) of time. By doing so he explores ancient issues from a fresh perspective, such as whether time passes, whether experimental time is 'real time', and whether the very concept of time is contradictory. (shrink)

My goal is to conceive how the reality would look like for hypothetical creatures that supposedly perceive on time scales much faster or much slower than that of us humans. To attain the goal, I propose modelling in two steps. At step one, we have to single out a unified parameter that sets time scale of perception. Changing substantially the value of the parameter would mean changing scale. I argue that the required parameter is duration of discrete perceptive frames, (...) or snapshots, whose sequencing constitutes perceptive process. I show that different standard durations of perceptive frames is the ground for differences in perceptive time scales of various animals. Abnormally changed duration of perceptive frames is the cause of the effect of distorted subjective time observed by humans under some conditions. Now comes step two of the modelling. By inserting some arbitrary duration of a perceptive frame, we set a hypothetical scale and thus emulate a viewpoint for virtual observation of the reality in a wider or narrower angle of embracing events in time. Like changing lenses of a microscope, viewing reality in different temporal scales makes certain features of reality manifested, others veiled. These are, in particular, features of life. If we observe an object in an inappropriate interval, we may not notice the very essence of a process it is undergoing. (shrink)

In contrast to the recent trend of taking external world skepticism as a narrow problem for a demanding conception of "objective" or "certain" knowledge about the world, my thesis offers a re-examination of the distinctively perceptual basis of the skeptical problem. On my view the skeptic challenges the very possibility of rationally justifying beliefs in so far as they are based on sense experience, a characterization that helps to explain the continuity into the modern period of the ancient skeptical challenge (...) to the pretensions of reason. What is newly radical in external world skepticism is the discovery of the inner realm of the mind, and hence, of inner states as a component of every sense experience. ;I argue that the skeptic relies upon a distinctive, intuitively compelling, conception of sense experience which I call the causal model of experience. This is the view that experience is constituted by self-standing subjective experiences and their external causes, where cause and effect are logically distinct existences. The causal model is not to be identified with a view of perception as epistemically mediated by a "veil of ideas", though it can lead one to embrace that doctrine. My aim is twofold: to understand the motivation for the skeptic's causal model of experience; and to show that, when thought through, this model can ultimately be shown to be incoherent. ;The causal model has its roots in 17th century scientific metaphysics and the idea that the world can be exhaustively explained in terms of mechanical interactions between primary-qualified corpuscles governed by mathematically describable laws. I argue that the perceptual relation is not a mere efficient causal relation and I show that the skeptic is in the incoherent position of wanting a "private" language to describe his subjective experiences despite insisting on conditions of autonomy that deprive his terms of the normativity that is a necessary condition of meaning. Thus I do not answer the skeptical problem so much as undercut the basis upon which it is posed in the first place. (shrink)

Addressing Merleau-Ponty's work Phenomenology of Perception, in dialogue with The Visible and the Invisible, his lectures at the Collège de France, and his reading of Proust, this book argues that at play in his thought is a philosophy of “ontological lateness”. This describes the manner in which philosophical reflection is fated to lag behind its objects; therefore an absolute grasp on being remains beyond its reach. Merleau-Ponty articulates this philosophy against the backdrop of what he calls “cruel thought”, a (...) style of reflecting that seeks resolution by limiting, circumscribing, and arresting its object. By contrast, the philosophy of ontological lateness seeks no such finality-no apocalypsis or unveiling-but is characterized by its ability to accept the veiling of being and its own constitutive lack of punctuality. To this extent, his thinking inaugurates a new relation to the becoming of sense that overcomes cruel thought. Merleau-Ponty's work gives voice to a wisdom of dispossession that allows for the withdrawal of being. Never before has anyone engaged with the theme of Merleau-Ponty's own understanding of philosophy in such a sustained way as Whitmoyer does in this volume. (shrink)

From its ornamental and often bookish exterior to its use as an exegetical tool for understanding the Book of Nature, the 18th-century microscope was socialized as an instrument of letters as well as of science. This essay proposes a reading of the microscope as a literary artifact by examining its bindings, its texts and its illustrations. While the instrument promised to extend human sense perception and to give its user access to invisible worlds, it simultaneously threatened to alter received (...) views concerning both aesthetics and social hierarchy. Nevertheless, the destabilizing effects of the microscopic message entered polite society cloaked in a veil of familiarity in the binding of a good book. The nostalgia-encrusted instrument absorbed the shock of the new. (shrink)

This book puts forward a much-needed reappraisal of Immanuel Kant's conception of and response to skepticism, as set forth principally in the Critique of Pure Reason. It is widely recognized that Kant's theoretical philosophy aims to answer skepticism and reform metaphysics--Michael Forster makes the controversial argument that those aims are closely linked. He distinguishes among three types of skepticism: "veil of perception" skepticism, which concerns the external world; Humean skepticism, which concerns the existence of a priori concepts and (...) synthetic a priori knowledge; and Pyrrhonian skepticism, which concerns the equal balance of opposing arguments. Forster overturns conventional views by showing how the first of these types was of little importance for Kant, but how the second and third held very special importance for him, namely because of their bearing on the fate of metaphysics. He argues that Kant undertook his reform of metaphysics primarily in order to render it defensible against these types of skepticism. Finally, in a critical appraisal of Kant's project, Forster argues that, despite its strengths, it ultimately fails, for reasons that carry interesting broader philosophical lessons. These reasons include inadequate self-reflection and an underestimation of the resources of Pyrrhonian skepticism. (shrink)

[opening paragraph]: While there are many ideas worthy of test, and especially some exciting speculations on how ‘high level’ processing might feed back into ‘low level’ visual perception, the scheme of ‘laws’ proposed by Ramachandran and Hirstein underestimates the ambition of art, at least as it is probably understood by most serious contemporary practitioners. It should be retitled ‘The Science of Design'. If Ramachandran and Hirstein had looked into the literature of design, instead of art, they would have come (...) upon somewhat similar, though more subjective, explorations of significantly overlapping ideas; symmetry, contrast, methods of limiting distraction, avoiding confusion, etc. Design is an essential element of the artist's training, but it is not the equivalent of art; design is to art as engineering is to science -- it does a lot of heavy lifting but does not in itself contain or explain the agenda. (shrink)

In two parts of his work Introduction to Universal History, Ibn Khaldun studies those perceptions of supernatural character which some individuals possess. In respect to these, an essential notion to him is that of “Veil of the senses”. according to him –and to other previous authors of whom he takes this notion– sensitivity, which is usually a basic element in common human perception, is seen as an obstacle to supernatural perceptions, for these are not reached by the usual (...) means of knowledge, but by what he conceives as particular revelations of the angelic world. This paper deals about that notion in the first part of his aforesaid work. (shrink)

In “Compassionate Phenomenal Conservatism” (2007), “Phenomenal Conservatism and the Internalist Intuition” (2006), and Skepticism and the Veil of Perception (2001), Michael Huemer endorses the principle of phenomenal conservatism, according to which appearances or seemings constitute a fundamental source of (defeasible) justification for belief. He claims that those who deny phenomenal conservatism, including classical foundationalists, are in a self-defeating position, for their views cannot be both true and justified; that classical foundationalists have difficulty accommodating false introspective beliefs; and that (...) phenomenal conservatism is most faithful to the central internalist intuition. I argue that Huemer’s self-defeat argument fails, that classical foundationalism is able to accommodate fallible introspective beliefs, and that classical foundationalism captures a relatively clear internalist intuition. I also show that the motivation for phenomenal conservatism is less than clear. (shrink)

This essay, between serious and facetious, addresses an apparently secondary implication of the planetary tragedy produced by Covid-19. It coincides with the ‘problem of the veil,’ a bone of contention in Islam/West relationships. More specifically, it will address the question of why the pandemic has changed the proxemics of public spaces and the grammar of ‘living together.’ For some time—and it is not possible to foresee how much—in many countries people cannot go out, or enter any public places, without (...) wearing a sanitary mask. In short, almost all of us, by obligation or by urgent advice from the public authorities of the various countries, will not live the public sphere with our faces uncovered. The alteration of the social context affecting many Western countries will inevitably involve also the ‘local’ perception of the Islamic veil and—as a matter of equality—the consistency of the prohibition of wearing it. What will thus become of the ban on wearing it in public places established by some countries such as France and asseverated by the ECHR? If everyone can and will have to go around with their faces covered, why should only Islamic women be discriminated against? Will not the change in boundary conditions produced by Covid-19 also induce Western people to re-categorize the meaning of the veil? And will this re-categorization not directly affect the ‘fact’ of wearing the veil, that is, its empirical perception? And still, will this psycho-semantic change not show how empirical perceptions are cultural constructs rather than ‘objective facts,’ as such allegedly independent from the observer’s point of view? Consequentially, will the plurality of perceptions and cultural meanings related to the gesture of covering one’s own face not gain renewed relevance in determining the legitimacy of wearing the veil? The socio-semantic earthquake produced by Covid-19 compels us to rethink this and other issues orbiting around the translation of ‘facts’ into legal language; furthermore, it highlights the instrumentality of many ideological/partisan and ethnocentric assumptions passed off as objectivity regarding those alleged ‘facts.’ The essay will attempt to provide an answer to the above questions by proposing a semiotic-legal approach to intercultural conflicts and, indirectly, the pluralism in law. (shrink)

Kant's theoretical philosophy is often read as a response to skeptical challenges raised by his predecessors. Yet Kant himself explicitly discusses skepticism in relatively few places in his published work, so Michael Forster's focused examination of Kant's relation to skepticism is a useful addition to the literature. Forster sets out to distinguish different types of skepticism to which Kant might be responding, determine what responses Kant offers, and evaluate the strength of those responses.Perhaps the most valuable part of the book (...) is the opening chapters, where Forster distinguishes three kinds of skepticism about metaphysics , and argues that it is a mistake to see Cartesian, veil of perception skepticism as a central target of Kant's. Though this point has been made before , insufficient attention to it has continued to result in misplaced criticisms of Kant's project, and Forster's forceful reminder is certainly welcome.The other two types of skepticism, Forster argues, did play crucial roles in the development of Kant's metaphysical views, with each at some point rousing Kant from a self-described "dogmatic slumber." Forster claims that the 1766. (shrink)

This paper argues that some defenses of global antirealism that critique both epistemic foundationalism and ontological priority foundationalism (e.g., Westerhoff 2020) turn on a false dilemma that ignores non-representational approaches to consciousness and cognition. Arguments against the existence of an external world and against introspective certainty, typically draw on a range of empirical findings (mainly about the brain-based mechanisms that realize cognition) and that are said to lend support to irrealism. Theories that incorporate these findings, such as the interface theory (...) of perception and predictive processing, not only retain the notion of the veil of perception, but have continued to assign to it an important theoretical role. While the mathematical frameworks these theories employ do make them viable candidates, neither theory is moving in a direction that would suggest global anti-realism is the more plausible attitude. Rather, I argue that the new paradigm of 4E cognitive science (embodied, embedded, enactive, extended) bolsters epistemological and metaphysical realism. (shrink)

Some philosophers claim that perception immediately and prima facie justifies belief in virtue of its phenomenal character (Huemer, Skepticism and the veil of perception. Rowman & Littlefield, Lanham, 2001; Pryor, There is immediate justification. In: Steup M, Sosa E (eds) Contemporary debates in epistemology. Blackwell, London (2014), pp. 181–202, 2005). To explain this special justificatory power, some appeal to perception’s presentational character: the idea that perceptual experience presents its objects as existing here-and-now (Chudnoff, Intuition. Oxford University (...) Press, Oxford, 2013; Berghofer, Husserl Stud 34(2):145–170, 2018). As some philosophers have noted, if perception justifies in virtue of its presentational character alone, the kind of content perception has should not matter for perceptual justification; more precisely, it should not matter whether perceptual content is propositional or not (e.g., Smithies, The epistemic role of consciousness. Oxford University Press, Oxford, 2019; Kriegel, Australas J Philos, 2021). However, most philosophers tend to resist this conclusion, holding that perception must be propositional in order to justify, on the ground that all our model of justification are propositional (e.g., Gauker, Philos Perspect 26(1):19–50, 2012). This paper challenges this claim. The paper consists of a negative and a positive part. In the negative part, I discuss and reject the master argument for the propositionality of perception; the conclusion is that propositional content is neither sufficient nor necessary to explain perception’s justificatory power. In the positive part, I take this conclusion seriously and outline an objectual model of perceptual justification. I define objectual attitudes as mental states whose content is not a full proposition, but a sub-propositional representational item, such as the representation of objects, properties, and kinds (Grzankowski and Montague, Non-propositional intentionality. Oxford University Press, Oxford, 2018), and show that it is plausible that some perceptions and some beliefs are attitudes of this kind. I then argue that objectual perceptual experiences have the right kind of phenomenal character and the right kind of structure to serve for immediate prima facie justification. I conclude by defending my objectual model from three objections. (shrink)

Miles Burnyeat famously argued that there could, in principle, be no idealism in Greek philosophy, because it was not yet prepared to regard the existence of an external world beyond our veil of perception as a serious philosophical problem. I believe that this thesis is historically and systematically false. Burnyeat's claim is backed up by a short sketch of the most important philosophical systems in Greek philosophy that might seem to contradict his no-idealism view, viz. ancient skepticism and (...) Neo-Platonism. In this paper, I argue against Burnyeat's view on the basis of a reconstruction of Sextus Empiricus' epistemological skepticism regarding the external world. Then, I try to show that Plotinus' idealism and his theory of νος are built on the assumption that metaphysical realism entails the problem of the external world and is, therefore, potentially inconsistent because of its skeptical results. Plotinus shows how skepticism about the external world can be avoided by idealism which can, thus, be seen as an explicit overcoming of epistemological skepticism. This whole train of thought explicitly refers to the problem of an external world. Therefore, Plotinus can be seen as answering the skeptical challenge with an idealistic metaphysic of experience. (shrink)

My main claim is that, in order to account for the nature of human mind, philosophy of mind should embody topics usually treated by disciplines as ethics or applied philosophy so as to enrich the pure notion of cognitive experience to the extent of treating the whole of human experience. I begin with considering the Cartesian approach to the "cogito". I argue for the claim that cartesian-like dualists (Descartes and Locke, Kant and Husserl) fail in treating the opposition of internalism (...) and externalism concerning experience. This failure commits them to a form of epistemological idealism unable to manage the "veil of perception" objection. I then settle a provisional account for the mind, mainly dependent on a Berkeleyan-Humean deflationist approach to it, showing the necessity to incorporate in it robust practical topics from an ontological point of view. (shrink)

Rational intuitions involve a particular form of understanding that gives them a special epistemic status. This form of understanding and its epistemic efficacy are not explained by several current theories of rational intuition, including Phenomenal Conservatism (Huemer, Skepticism and the veil of perception, 2001 ; Ethical intuitionism, 2005 ; Philos Phenomenol Res 74:30–55, 2007 ), Proper Functionalism (Plantinga, Warrant and proper function, 1993 ), the Competency Theory (Bealer Pac Philos Q 81:1–30, 2000 ; Sosa, A virtue epistemology, 2007 (...) ) and the Direct Awareness View (Conee, Philos Phenomenol Res 4:847–857, 1998 ; Bonjour, In defense of pure reason, 1998 ). Some overlook it; others try to account for it but fail. We can account for the role of understanding in rational intuition by returning to the view of some of the early Rationalists, e.g. Descartes and Leibniz. While that view carries a prohibitive cost, it does contain an insight that may help us solve the problem of giving understanding its due. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MEANING IN A '.REALIST PERSPECTivE STEPHEN THERON National University of Lesotho Lesotho I DISCUSSION OF meaning and ref,erring in the terms laid down in a classic article of Frege's has generated a stereotyped attitude to the question in the minds of many. It is simply assumed that meaning is, as it were, the contrary of reference. In logic this is 11eflected by the assumed pamdigm of there being formal (...) systems which al'e.called purely formal to the extent that they are ' uninterpreted ', i.e. ·divol'ced from all questions of reference.1 If as a matter of history we accept that modern logic has grown basically out of Kantian soil, then it should not surprise that it is generally linked with a form of apriorism. The violence of the movement against ' psychologism ' shows how strong the danger is of linking the necessities of logic with those supposed epistemic necessities the non-Kantian realist can only regard as spurious. Anyhow this paper will be less·directly about logic than about those supposed necessities. I mean such constraints as Jonathan Bennett calls in general the " veil of perception " 2, ·as if perceiving, which should be an un- :veiling or bringing to lighrt, at the same time obscures what is seen or thought. The same idea recurs in the recent theory of 1 Of. Henry Veateh, Intentional Logic (Yale, 1952): In trying to subsume ordinary intentional relations like that of subject. predicate under the more abstract forms of a completely uninterpreted relational pattern... treated simply as a one-term relation on a par with all the... n-term real relations •. • mathematical logicians have in effect changed the character of such intentional relations completely.... (pp. 7778 ) :i See J. L. Mackie's Problems from Locke. ~9 30 STEPHEN THERON 'internal realism', just a more confusing name for transcendental idealism so far as I can see. There is of course no sense to the idea of checking what we claim to know against what we do not yet know. Yet he:re we should not be discussing precisely truth but the quite separate ontological question whether " THE WORLD is independent of any particular representrution we have of it" (Putnam's notion of the 'metaphysical realism' he rejects), whether "reality is altogether independent of experience," as Michael Devitt argues.3 This is a question of the being of the world, which existed before I d1d. Even as concerns the present moment, the wor1d is such that I or you might not exist, and this contingency of cognitive beings, severally or generally, to the actual world, as a possibility inherent in it, may not without more ado be identified with the quite different possibility of another world, like to this e.x:cept for the absence of me or you. For the former is a real if passive possibility in a thing, viz., the world, the latter is merely an alternative conception or idea of a different and merely possible thing. The concept of my dog with a broken leg is a different concept from that of my dog as healthy, but it is of the same dog, and that is why I don't want him to break his 1eg. The world without me was and would be the same world, though differently conceived. This is the basic requirement of realism, which philosophers have often violated, confusing the metaphysical with the epistemological, the real with the certain. For example Descartes reasoned fallaciously from his being certain, as he thought, of the soul's but not of the body's existence to the ontological separateness of these two. Kant, again, seemed to reason from duty as a pure concept or epistemic entity to the real separwteness, as a positivie value, of the motive of duty from any motive of pleasure or aspiration to happiness. Yet it is possible, indeed probable, that in reality soul and body, a M. Devitt," Realism and the Renegade Putnam," Nous 1983, p. 297. MEANING IN A REALIST PERSPECTIVE 31 though distinguishable, do not have separate acts of existence,,and, in any human existence, that the motive of duty both cannot and ought not to be separated from the distinguishable... (shrink)

This is probably the most important book on perception since R. J. Hirst's The Problems of Perception. Ben-Ze'ev presents a highly original, very detailed, comprehensive, and plausible theory of perception, cognition, and other mental phenomena At last we have a viable alternative to the troubled dualistic, representational, "veil of perceptions" theories initiated in the seventeenth century and to the equally troubled materialistic, reductionist theories of the Churchlands et al. Ben-Ze'ev has made a brilliant synthesis of some (...) of the most fruitful ideas of Aristotle, Kant, and others, and he shows that many recent findings in psychological experiments confirm, or are more compatible with, his theory than the alternatives. He defines perception as an "intentional state of direct awareness of the environment." Ben-Ze'ev makes a very convincing case for his nonreductionist, holistic, intuitively plausible, and empirically-grounded theory. The world that physics is gradually disclosing to us is not the "perceptual environment" because it belongs to a different level of description. This parallels his explanation of the relationship between neural states and mental states, which is not that of cause and effect. Rather, they are stratified and belong to different vocabularies and different categories. Ben-Ze'ev has a version of the dual-aspect or multi-aspect theory of mind and body which strikes me as the only remotely plausible approach. The physical world may not be the world we know and love but the world of sights and sounds is real in its own way. Each sort of perceiver has its own kind of access to genuine, emergent properties of the world. (shrink)

Perhaps more than any other type of artist, visual artists have the unfair impediment of being asked what their work means. The response to such an inane question is often a thinly veiled frustration at the spectator’s inability to tangle with what is present before him. It may be that our evolutionary reliance on sight informs all of our senses to the point that they no longer work together but operate under a sort of hierarchy. Our perception of reality (...) is to first see an object, then name it, touch it, hear it, smell it, and so on. Yet still, we remain unable to totally apprehend an artistic piece when it represents an object differently than what we expect. As viewers of art, we’ve come to accept a .. (shrink)

Mauro Carbone’s The Flesh of Imagesexplores the status of images as the precession of the invisible and the visible in Merleau-Ponty’s notion of “sensible ideas” ideas, but is at the same time a concise, original, and illuminating exploration of Merleau-Ponty’s sense of the flesh and his later philosophy, as well as speculating on an important historical shift in the sense of Being. Carbone articulates the flesh as the traversal, by Visibility, of the seer as Being, where the invisible is shown (...) forth indirectly by the visible and is ultimately the activity of visible Being that manifests a sort of desire to see itself through enveloping the visible beings that are seers. Carbone utilizes the notion of “voyance” as a seeing further into what had not been present before as the opening of a latency that is carried forth as the invisible’s pregnancy within the visible that ultimately brings into undecidability the primacy of perception and that of imagination,as well as being a retrograde movement within time that allows access to a mythical time and renders a differing, an immemorial time that has never been—the time in which Proust’s and Merleau-Ponty’s “sensible ideas” live. Carbone details Merleau-Ponty’s“ontological rehabilitation of the surface” in which the surface like the film screen is no longer a veil as constituting an obstacle, but rather is the surface of manifestation of Being, expressing the modern mutation in the relation to Being.Dans The Flesh of Images, Mauro Carbone explore le statut des images en tant que précession du visible et de l’invisible à partir de la notion d’« idées sensibles », mais il offre en même temps une étude à la fois synthétique, originale et éclairante du sens de la chair et de la pensée du dernier Merleau-Ponty, ainsi qu’une réflexion théorique sur un tournant historique fondamental dans le sens de l’Être. Carbone articule une pensée de la chair comme ce qui est transversal – par la Visibilité – au voyant en tant qu’Être, où l’invisible se donne à voir de manière indirecte à même le visible et est ultimement l’activité de l’Être visible qui vient manifester une sorte de désir de se voir par le fait même d’envelopper les êtres visibles qui sont voyants. Carbone se sert ainsi de la notion de « voyance » en tant que voir plus ou plus loin ce qui ne s’est pas encore présentifié comme l’ouverture d’une latence qui est portée en tant que prégnance invisible au sein du visible, ce qui fait que le primat entre perception et imaginaire devient indécidable, se construisant comme un mouvement temporel rétrograde, qui donne accès à un temps mythique et réalise un temps différé et immémorial qui n’a jamais été présent – le temps des idées sensibles de Proust et de Merleau-Ponty. Carbone expose la « réhabilitation ontologique de la surface » opérée par Merleau-Ponty en ce que la surface de l’écran cinématographique ne fonctionne plus comme un voile, c’est-à-dire ne constitue plus un obstacle, mais est plutôt la surface sur laquelle l’Être se manifeste, en exprimant la mutation contemporaine de notre relation à l’Être. The Flesh of Images di Mauro Carbone esplora lo statuto delle immagini come precessione di visibile e invisibile, secondo la nozione merleau-pontiana di “idee sensibili”, ma allo stesso tempo costituisce un’indagine concisa, originale e illuminante del concetto di carne e del pensiero dell’ultimo Merleau-Ponty. Il volume riflette inoltre su un importante slittamento storico nella concezione dell’Essere. Carbone articola il concetto di carne come ciò che è trasversale, attraverso la Visibilità, al vedente in quanto Essere, in cui l’invisibile appare indirettamente attraverso il visibile e in cui, in ultima analisi, è l’attività dell’Essere visibile che manifesta una sorta di desiderio di vedere se stesso rivestendo quegli esseri visibili che sono i vedenti. Carbone impiega la nozione di “voyance” per indicare un vedere oltre che coglie ciò che non si è ancora reso presente. Si tratta dell’apertura di una latenza che emerge come pregnanza dell’invisibile all’interno del visibile. Tale dinamica conduce a un’indecidibilità del primato della percezione e dell’immaginazione, costituendo al contempo un movimento temporale retrogrado che permette di accedere a un tempo mitico e che realizza un tempo differito e immemoriale che non è mai stato presente – il tempo delle “idee sensibili” di Proust e di Merleau-Ponty. Carbone espone la “riabilitazione ontologica della superficie” condotta da Merleau-Ponty, secondo cui la superficie dello schermo cinematografico non è più un velo che ostacola, ma piuttosto una superficie su cui l’Essere si manifesta, che esprime la trasformazione contemporanea della nostra relazione all’Essere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Glory of the Lord: A Theological Aesthetics. Vol. VI: Theology: The Old Covenant. By HANS Uns VoN BALTHASAR. Trans. Brian McNeil, C.R.V. and Erasmo Leiva-Merikakis. Ed. John Riches. San Francisco: Ignatius Press, 1991. Pp. 443. In this penultimate-volume of The Glory of the Lord, von Balthasar sets forth a " biblical aesthetics " in which the manner of the emergence of the Glory of God in (...) the world of man is spelled out. He proceeds by examining the bewildering variety of the manifestations of God's Glory in the Old Testament, but always as unified in their historical convergence upon Jesus, the Christ, the final and definitive presence in history of the divine Glory in whom Word and Image, Messiah and Servant, Son of Man and Son of God, are at one. This manner of proceeding is little consonant with contemporary Catholic exegesis, which prefers to regard the Old Testament as a free-standing hook, and is rather fastidious about reading it as " literally " the prologue and the Sitz im Leben of the New. For such exegetes, the literal and the historical senses are entirely distinct, because of their methodological enlistment in the historical pessimism of the Enlightenment. Balthasar, of course, is not of their camp. Balthasar's mastery of Old Testament exegesis is on a par with the effortless command of the Western philosophical, theological, and literary tradition which he has displayed in the earlier volumes of this work. While he relies heavily upon von Rad, a glance at the index shows that his knowledge of Old Testament scholarship is based upon a wide reading, upon which he levies throughout the book with practiced ease. The exegetical method implicit in his analysis is the one employed by scholars such as de Lubac, Guillet, and Ligier; its classic Augustinian understanding of the free unity of history, and of the consequently free meaning of Old Testament and the New as fulfilled in the Kingdom of God, needs no apology. The currently common supposition that the " literal " sense of Scripture is that which an Enlightened positivism will permit needs only to be recognized to be rejected. In the opening pages of the Introduction Balthasar sets the theme which will dominate the book: the rationally irresolvable dialectical 139 140 BOOK REVIEWS tension between God and all that is not God, a tension inherent in the revelation of the Glory of God. In keeping with the emphasis of his earlier volumes, Balthasar is insistent upon the radical gratuity of the revelation of the Glory of God. The revelatory manifestation of God as God, who is beyond all perception, all knowing, all communication, and yet is communicated, perceived the more surely where the more veiled, and definitively revealed on the Cross. The revelation of God's Glory is of God as the Absolutely Other, as formless, and so as in tension with all form which would mediate the revelation. This communication, this mediation, is utterly ex nihilo; it relies upon no capacity in man, upon no natural process of spiritual development, and is unrelated to, because absolutely transcendent to, all human projects. Impossible to prepare for, the manifestation is constantly new, arising out of no prior possibility in man or his world, and responding to nothing in him which might make the revelation capable of anticipation. The paradox of God's self communication of his formless Glory is then beyond all utterance, and yet is uttered, given form: the final Form is, of course, the Christ. This is the basic datum, the ground upon which all theology rests, and is pure grace, a gift beyond all expectation, incapable of being imagined. All the preparatory Old Testament images finally fail. The paradox, the self communication of God who is beyond all utterance, yet is uttered, has its resolution only in the Form, the personal unity, of Christ. The revelation always at once transcends and assimilates the concrete historical forms by which it is mediated. The pagan materials are transformed by their historical deployment in the revelatione.g., the pagan myths of creation, of divine wars and marriages, the pagan wisdom-and in their deployment, they converge, hut not within the Old... (shrink)