The earlier Life of Locke, by Lord King, had consisted largely of an assemblage of Locke's own letters and manuscripts, of great value to the historian, but of rather less interest to the student of Locke's philosophy. Fox Bourne's biography, by contrast, concentrates on Locke the philosopher, and seeks to place his philosophical works in the context of his life. Fox Bourne thus describes Locke's studies at Oxford, his distaste for scholasticism, the discovery of Descartes' Meditations, and the role of (...) his medical and scientific interests and of his friendships with Boyle, Sydenham and Newton, in shaping his thought. Although the seeds of the Essay may have been sown as early as 1670, Fox Bourne admits, it was during Locke's exile in Holland between 1683 and 1689, and under the influence of such Dutch friends as Le Clerc, that the great work really took shape. At the heart of the work, we are told, is the critique of revelation that occupies pride of place in Book Four - Locke's overriding concern was to articulate a rationally defensible and universally acceptable version of Christianity. (shrink)

In this Very Short Introduction, John H. Holland, one of the leading figures in the field, introduces the key elements and conceptual framework of complexity. From complex physical systems such as fluid flow and the difficulties of predicting weather, to complex adaptive systems such as the diverse and interdependent ecosystems of rainforests, he uses simple examples to illustrate the approach and insights provided by complexity theory.

Tout au long de sa longue carrière, Henri Lecoq a eu une réputation contrastée dans la communauté scientifique. Son oeuvre est citée par Mendel et par Darwin; cependant certains de ses compatriotes, tels qu'Adolphe Brongniart lui ont dénié originalité et profondeur. Dans une certaine mesure, Lecoq a subi le destin de beaucoup de naturalistes provinciaux dont les efforts n'étaient pas vraiment reconnus par les maîtres de la discipline. Mais une explication plus spécifique se trouve peut-être dans l'habitude qu'avait Lecoq d'utiliser (...) dans le même texte différents styles considérés comme incompatibles. Son travail sur l'hybridation végétale est à cet égard significatif: des bribes de vulgarisation hautes en couleurs y côtoient des conseils pratiques pour les horticulteurs, et les descriptions pittoresques s'y mêlent aux réflexions théoriques. Au terme de cette étude, Lecoq apparaît comme un homme de science qui combine un sens aigu de l'observation avec les caractéristiques d'un auteur romantique. (shrink)

In The Ethics of Food, Gregory E. Pence brings together a collection of voices who share the view that the ethics of genetically modified food is among the most pressing societal questions of our time. This comprehensive collection addresses a broad range of subjects, including the meaning of food, moral analyses of vegetarianism and starvation, the safety and environmental risks of genetically modified food, issues of global food politics and the food industry, and the relationships among food, evolution, and human (...) history. (shrink)

Augustine is the person from the ancient world about whom we know most. He is the author of an intimate masterpiece, the Confessions, which continues to delight its many admirers. In it he writes about his infancy and his schooling in the classics in late Roman North Africa, his remarkable mother, his sexual sins ('Give me chastity, but not yet,' he famously prayed), his time in an outlawed heretical sect, his worldly career and friendships and his gradual return to God. (...) His account of his own eventual conversion is a classic study of anguish, hesitation and what he believes to be God's intervention. It has inspired philosophers, Christian thinkers and monastic followers, but it still leaves readers wondering why exactly Augustine chose to compose a work like none before it. Robin Lane Fox follows Augustine on a brilliantly described journey, combining the latest scholarship with recently found letters and sermons by Augustine himself to give a portrait of his subject which is subtly different from older biographies. Augustine's heretical years as a Manichaean, his relation to non-Christian philosophy, his mystical aspirations and the nature of his conversion are among the aspects of his life which stand out in a sharper light. For the first time Lane Fox compares him with two contemporaries, an older pagan and a younger Christian, each of whom also wrote about themselves and who illumine Augustine's life and writings by their different choices. More than a decade passed between Augustine's conversion and his beginning the Confessions. Lane Fox argues that the Confessions and their thinking were the results of a long gestation over these years, not a sudden change of perspective, but that they were then written as a single swift composition and that its final books are a coherent consummation of its scriptural meditation and personal biography. This exceptional study reminds us why we are so excited and so moved by Augustine's story. Praise for Pagans and Christians 'This open-hearted and learned book is one that any scholar of the ancient world and of early Christianity would be proud to have written... Lane Fox has opened his pages to let in an entirely new world.' Peter Brown, New York Review of Books 'A work of generous humanity and recondite erudition... of consuming interest to all of us who want to know and understand the consequences of the ancient world.' Henry Chadwick, Financial Times Praise for The Unauthorised Version 'I don't know where one would turn for an account of the Bible so clear, so lively and, in many respects, so just.' Frank Kermode, Guardian 'Magnificent... delivered with authority and verve. Learned but never pedantic, he is an unfailingly incisive, thought-provoking, humane, courteous, and often entertaining guide.' Economist. (shrink)

William Henry Fox Talbot (1800-1877) ist vor allem als Erfinder der Fotografie bekannt. Basierend auf umfassenden neuen Quellen wird hier erstmals Talbots Erfindung im Hinblick auf sein Gesamtoeuvre untersucht. Dies ermöglicht neue Interpretationen seiner Fotografien, die die Autorin primär als Hilfsmittel für seine vielfältigen wissenschaftlichen Interessen und somit als Teil eines größeren epistemischen Gedankengebildes versteht.

In his book "Walden", Henry David Thoreau (1817-1862) describes an experiment intended to determine what is essential in life. His analysis includes a critique of the excesses of material culture, concluding that the most important concerns for human beings revolve around the retention of what he calls "heat." I suggest that there are a number of interesting parallels between this analysis and a cluster of ideas generally describable as "protodaoist" and often attributed to the legendary and obscure figure known (...) as Yang Zhu or Yangzi. In particular, both of these models can be seen to relate one's efficient preservation of life force to the accomplishment of what I am calling one's "natural destiny," and both include a concomitant critique of material culture. In this essay I will define the concept of natural destiny and articulate and compare the two models' common concern with achieving it through properly economizing one's resources in the face of the diversion provoked by material attachments. (shrink)

Schaaf, an independent photohistorian and research professor at the University of Glasgow and the director of the Correspondence of William Henry Fox Talbot Project, discusses approximately fifty of Talbot's images in the collection of the Getty Museum."--BOOK JACKET.

This letter responds to the article “On the Authority of Advance Euthanasia Directives for People with Severe Dementia: Reflections on a Dutch Case,” by Henri Wijsbek and Thomas Nys, in the September‐October 2022 issue of the Hastings Center Report.

-Fabrice Luchini, vous lisez l'Evangile de saint Marc? - Pas encore. Avant de plonger dans les Evangiles, je lis Pierre Boutang. C'est du lourd?! Hier soir, je dînais avec François Hollande qui me dit? : "?Vous lisez Boutang?? C'est la passion de mon père?!?" Je lui réponds? : "?Transmettez mon salut admiratif à votre père car un lecteur de Boutang, c'est un costaud.?" Je suis paumé... - Qu'est-ce qui vous attire chez Boutang?? - Le poison de la curiosité. Pourquoi suis-je (...) ainsi happé?? C'est d'un tel niveau philosophique que je n'ai pas les moyens de suivre. Pourtant j'y vais. Autant Nietzsche, je peux facilement m'y mettre, car c'est un styliste poète, autant ces philosophes qui mettent Kant en allemand face à Thomas d'Aquin en latin... je ne fais pas le poids?! (Fabrice Luchini interrogé par Luc Adrian pour Famille chrétienne, le 10 mai 2016.) Ce livre est un manuel pour commencer à lire Boutang, le philosophe français le plus nécessaire et le plus libre du siècle. " Méthode d'investigation sans concession ", " classique modernité ", " courage " sont les mots par lesquels Pierre Boutang rendait compte des tout premiers travaux de son élève en Sorbonne : " Nous sommes ici en présence du véritable commencement d'une oeuvre ". (shrink)

I argue that while there is no evidence that Roy Holland was influenced by Henri Bergson, their views of morality nevertheless reveal an interesting similarity.

Heinrich Siecke, who Anglicised his name to Henry Sike, was regarded in Northern Europe as one of the most promising scholars of his day. Born in the reformed city of Bremen in 1668, he studied at...

Machine generated contents note: Introduction Henry Somers-Hall; 1. Deleuze and the history of philosophy Daniel W. Smith; 2. Difference and repetition James Williams; 3. The Deleuzian reversal of Platonism Miguel Beistegui; 4. Deleuze and Kant Beth Lord; 5. Phenomenology and metaphysics, and chaos: on the fragility of the event in Deleuze Leonard Lawlor; 6. Deleuze and structuralism François Dosse; 7. Deleuze and Guattari: Guattareuze and Co. Gary Genosko; 8. Nomadic ethics Rosi Braidotti; 9. Deleuze's political philosophy Paul Patton; 10. (...) Deleuze, mathematics, and realist ontology Manuel Delanda; 11. Deleuze and life John Protevi; 12. Gilles Deleuze's aesthetics of sensation Dorothea Olkowski; 13. Deleuze and literature Ronald Bogue; 14. Deleuze and psychoanalysis Eugene Holland; 15. Deleuze's philosophical heritage: unity, difference, and onto-theology Henry Somers-Hall. (shrink)

Books reviewed:Renate Egger‐Wenzel, Ben Sira's GodPaul J. Achtemeier, Joel B. Green and Marianne Meye Thompson, Introducing the New Testament, Its Literature and TheologyI. Boxall, Revelation: Vision and Insight. An Introduction to the ApocalypseS. Moyise, Studies in the Book of RevelationG. R. Osborne, Revelation: The Baker Exegetical Commentary on the New TestamentN. T. Wright, The Resurrection of the Son of GodGillian Clark and T. Rajak, Philosophy and Power in the Graeco‐Roman World: Essays in Honour of Miriam GriffinRichard Paul Vaggione, Eunomius of (...) Cyzicus and the Nicene RevolutionStephen T. Davies, Daniel Kendall S. J. and Gerald O'Collins, The Incarnation. An Interdisciplinary Symposium on the Incarnation of the Son of GodRichard Cross, The Metaphysics of the IncarnationHugh Connolly, SinAnthony W. Bartlett, Cross Purposes: The Violent Grammar of Christian AtonementStanley Hauerwas, With the Grain of the Universe: The Church's Witness and Natural TheologySarah Coakley, Powers and Submissions: Spirituality, Philosophy and GenderChristopher Cocksworth and Rosalind Brown, Being a Priest Today: Exploring priestly identityRandall Balmer, Encyclopedia of EvangelicalismKate Armstrong, Crisis and RepetitionAnthony A. Barrett, Livia: First Lady of Imperial RomeGerhard Podskalsky, Von Photios zu Bessarion: Der Vorrang humanistisch geprägter Theologie in Byzanz und deren bleibende BedeutungNicola Coldstream, Medieval ArchitectureW. J. Armstrong, J. A. W. Hellmann and W. Short, Francis of Assisi: Early Documents, IIIEllen E. Kittell and Thomas F. Madden, Medieval and Renaissance VeniceTheodor Dieter, Der junge Luther und Aristoteles: Eine historisch‐systematische Untersuchung zum Verhältnis von Theologie und PhilosophieAndrew Brown, Church and Society in England, 1000–1500Renate Blumenfeld‐Kosinski, Duncan Robertson, and Nancy Warren, The Vernacular Spirit: Essays on Medieval Religious LiteratureBarry Collett, Female Monastic Life in Early Tudor England, with an Edition of Richard Fox's Translation of the Benedictine Rule for Women, 1517Marc R. Forster, The Catholic Revival in the Age of the Baroque. Religious Identity in Southwest Germany, 1550–1750W. R. Ward, Christianity under the Ancien Régime 1648–1789Nigel Aston, Religion and Revolution in France 1780–1804Catharine Edwards, Roman Presences: Receptions of Rome in European Culture, 1789–1945Bruce L. Kinzer, England's Disgrace? J. S. Mill and the Irish QuestionJohn Corrigan, Business of the Heart: Religion and Emotion in the Nineteenth CenturyPeter M. Chisnall, John Henry Cardinal Newman: A Man of Courage, Conflict and ConvictionVincent Ferrer Blehl, Pilgrim Journey: John Henry Newman 1801–1845Kester Aspden, Fortress Church. The English Roman Catholic Bishops and Politics 1903–63David Alvarez, Spies In The Vatican: Espionage and Intrigue From Napoleon to the HolocaustPeter McDonough and Eugene C. Bianchi, Passionate Uncertainty: Inside the American JesuitsRuby Blondell, The Play of Character in Plato's Dialogues. (shrink)

We compare William Henry Fox Talbot’s 1835 photographic negative 'Latticed Window (with the Camera Obscura) August 1835' with Richard Beaudoin’s 2009 solo piano work 'Étude d’un Prélude VII -- Latticed Window'. We claim that the score of Beaudoin’s work is a musical photograph of a performance of another musical work, and support the claim by describing their respective photographic and compositional processes, emphasizing the uniqueness of this score in being mechanically counterfactually dependent on its target (a recording of a (...) Chopin prelude performed by Martha Argerich). We then compare Beaudoin’s score with other possible musical photographs, including musical recordings, sonic spectrographs, ordinary musical transcriptions, and typical musical scores. Finally, we consider an argument based on the transparency of photographs. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

From the earliest silver-chloride calotypes of inventor of photography William Henry Fox-Talbot to developments in digital photography and the tiny but surprisingly capable cameras that are a component of every smartphone today, photography has changed dramatically over the past 150 years. As technology has advanced, so too has photography as a living, dynamic art form, as evidenced by the innovative techniques and compositions of contemporary photographic artists. Drawing on a diverse collection of historical and contemporary photographs held by Bank (...) Austria and on display at the Museum der Moderne Salzburg, Focus on Photography provides a rich visual record of the history of photography. The photographs reproduced here date from the 1840s to the 1970s and include works by Julia Margaret Cameron, Lewis Carroll, André Kertész, Josef Sudek, Eadweard Muybridge, Alexander Rodchenko, Lászlo Moholy-Nagy, Man Ray, Henri Cartier-Bresson, Diane Arbus, and Arnulf Rainer, among others, and range from landscapes and portraits to cutting-edge modern compositions. Together, they offer readers a series of invaluable reference points for thinking about of the important trends and developments throughout the history of photography. A stunning, kaleidoscopic portfolio featuring nearly two centuries of photographic art with representation from among many major movements and figures, Focus on Photography will be welcomed by all with an interest in this powerful medium. (shrink)

"Photography and travel go hand in hand-landmarks and scenic vistas everywhere are thronged by tourists with their eye to the view finder, trying to capture their memories on film or in megapixel. When the pioneers of photography, Henry Fox Talbot and Louise Daguerre, made their inventions public in 1839, advocates for the new technology immediately recognized photography's capability to vividly present the spectacles of the world and make famous sights accessible to those unable to experience them in person. In (...) this lively account of the partnership between photography and travel, Graham Smith explores the diverse ways mobility and cameras have been partnered from the mid-nineteenth century to today. His subjects range from seaside holidaymakers with a Kodak Brownie to American artists on the road exploring their own country and culture, to the canals of Venice and men on the moon. From France and Italy, to Egypt, Japan, and North America, we see how photography was both influenced and encouraged by new forms of transcontinental travel, including railways, cars, ships, and planes. Then as now, photographers often went to great lengths and faced considerable dangers to record exotic destinations, from the summit of the Great Pyramid of Giza to that of Mount Everest. As travel has become more democratized, the methods and experiences of it have developed in unexpected directions to create new photographic narratives. Packed with images from around the globe, Photography and Travel is the perfect book for intrepid photographers and armchair travellers alike"--Jacket. (shrink)

ArgumentThis article explores the entangled histories of three imaging techniques in early nineteenth-century British physical science, techniques in which a dynamic event (such as a sound vibration or an electric spark) was made to leave behind a fixed trace on a sensitive surface. Three categories of “sensitive surface” are examined in turn: first, a metal plate covered in fine dust; second, the retina of the human eye; and finally, a surface covered with a light-sensitive chemical emulsion (a photographic plate). For (...) physicists Michael Faraday and Charles Wheatstone, and photographic pioneer William Henry Fox Talbot, transient phenomena could be studied through careful observation and manipulation of the patterns wrought on these different surfaces, and through an understanding of how the imaging process unfolded through time. This exposes the often-ignored materiality and temporality of epistemic practices around nineteenth-century scientific images said to be “drawn by nature.”. (shrink)

The Minneapolis Institute of Arts holds the Upper Midwest's most significant permanent collection of fine photographs. Covering the entire history of the medium, from the mid-nineteenth century to the present day. This beautiful book opens with an 1845 salt print by the English inventor William Henry Fox Talbot and closes with a 2002 color portrait by Alec Soth from his series Sleeping by the Mississippi. In between, selected images represent the genres of documentary photography, photojournalism, and street photography. Included (...) are Dorothea Lange's "Migrant Mother" and Arthur Rothstein's "Dust Storm," as well as Edward Weston's "Pepper No. 30" and Ansel Adams's "Moonrise, Hernandez." Commemorating the collecting legacy of Carroll T. Hartwell, the founding curator of the museum's department of photographs, this book reveals Hartwell's critical eye for singular historical photographs and his belief in the influence and vitality of accomplished contemporary photographers. In an introductory essay, Christian A. Peterson recounts the history of the museum's photography collection and Hartwell's indelible imprint on the Minneapolis Institute of Arts. (shrink)

From its earliest beginnings in the 1840s up to its democratization as a widespread leisure pursuit, photography was swept along by a tide of artistic and entrepreneurial activity that gathered pace throughout the nineteenth century. Both as an art form and a social document, the photograph quickly took on a critical role as the primary means of visual expression in the modern age. Points of View brings together, for the first time, a selection of images from the British Library’s unique (...) photography collections, examining the history, diversity, and influence of the medium from its invention and early years up until the coming of the twentieth century. Beginning with the work of William Henry Fox Talbot and including some of our most celebrated photographic pioneers—Francis Frith, Felix Teynard, Samuel Bourne, and Peter Henry Emerson among them—this volume focuses on the question Who was taking the photograph and why? Ultimately the answer is found in the rise of mass market interest, the increasing role of technology, and the emergence of this thrilling new discipline amid rapid scientific, social, and industrial progress. (shrink)

This paper inquires into how the new techniques of 14th-century physics, especially the doctrines of the maxima and minima of powers and the latitudes of forms, were applied to the issue of propagation of light. The focus is on several Prague disputed questions, originating between 1377 and 1409, dealing with whether illumination has infinite or finite reach and whether illumination’s intensity remains constant (uniformis) or is rather uniformly decreasing (uniformiter difformis). These questions are contextualised through examination of Oxford, Paris, and (...) Prague sources of the era (John Dumbleton, John Buridan, Nicole Oresme, Albert of Saxony, Henry of Langenstein, John of Holland) to construct a fresh survey of late medieval theories of light. Along the way, the discovery of a hitherto unknown Prague disputation from the 1370s is announced, and new evidence for the dating and Central European dissemination of Jacobus de Sancto Martino’s De latitudinibus formarum and Nicole Oresme’s Questiones super Geometriam is uncovered. (shrink)

An expanded and updated edition of a classic work on human rights and global justice Since its original publication, Basic Rights has proven increasingly influential to those working in political philosophy, human rights, global justice, and the ethics of international relations and foreign policy, particularly in debates regarding foreign policy’s role in alleviating global poverty. Henry Shue asks: Which human rights ought to be the first honored and the last sacrificed? Shue argues that subsistence rights, along with security rights (...) and liberty rights, serve as the ground of all other human rights. This classic work, now available in a thoroughly updated fortieth-anniversary edition, includes a substantial new chapter by the author examining how the accelerating transformation of our climate progressively undermines the bases of subsistence like sufficient water, affordable food, and housing safe from forest-fires and sea-level rise. Climate change threatens basic rights. (shrink)

It is well-known that constructions involving ellipsis share many properties with constructions that involve phonological reduction. The similarity between ECs and PRCs is semantic: the interpretation of both is constrained by the interpretation of an antecedent. Rooth and Tancredi have pointed out that this similarity follows from an independently needed theory of focus.

The 1992 incorporation of an article by referendum in the SwissConstitution mandating that the federal government issue regulations onthe use of genetic material that take into account the dignity ofnonhuman organism raises philosophical questions about how we shouldunderstand what is meant by ``the dignity of nonhuman animals,'' andabout what sort of moral demands arise from recognizing this dignitywith respect to their genetic engineering. The first step in determiningwhat is meant is to clarify the difference between dignity when appliedto humans and (...) when applied to nonhumans. Several conceptions of humandignity should be rejected in favor of a fourth conception: the rightnot to be degraded. This right implies that those who have it have thecognitive capacities that are prerequisite for self-respect. In the caseof nonhuman organisms that lack this capacity, respecting their dignityrequires the recognition that their inherent value, which is tied totheir abilities to pursue their own good, be respected. This value isnot absolute, as it is in the case of humans, so it does not prohibitbreeding manipulations that make organisms more useful to humans. But itdoes restrict morally how sentient animals can be used. In regard togenetic engineering, this conception requires that animals be allowedthe uninhibited development of species specific functions, a positionshared by Holland and Attfield, as opposed to the Original Purposeconception proposed by Fox and the Integrity of the Genetic Make-upposition proposed by Rolston. The inherent value conception of dignity,as here defended, is what is meant in the Swiss Constitution article. (shrink)

Serving as an analysis of some of the major connections between Charles S. Peirce and Mikhail Bakhtin, this paper demonstrates that each thinker’s reliance on a triadic model can be incorporated to explain the analogous relationship between the dialogical movement within the sign vehicle and without it. Inside the sign, the dialogical relationship between the immediate and dynamical objects transposes its form onto what becomes Bakhtin’s dialogical model of consciousness with its centripetal and centrifugalvalences. These are pulls within a consciousness (...) toward internal consistency and external dynamism. Taken together, Peirce’s semeiotic and Bakhtin’s theory of dialogical development offer a nuanced, post-traditional explanation of the shape of self, the dialoguebetween the semiotic form and human consciousness. (shrink)