The goal I pursue is to redefine the study of religious epistemology on the basis of an ethnomethodological extension of Wittgenstein. This approach shows that the nature of religious belief and its relation to facts, proofs, and empirical reality are matters that are dealt with by ordinary members of society. The examination of this lay epistemology reveals that -- far from being a settled and established entity -- religious belief is a polymorphous phenomenon. Religious belief is a pragmatic resource whose (...) configuration is shaped to allow the accomplishment of interactional moves within specific contexts. I defend this thesis by analyzing accounts pertaining to a contemporary religious apparition claim. (shrink)

A new form of visual representation of divine others is emerging: photography. I examine here a set of photos of deities related to an apparition claim. The goal I pursue is to analyze the self-constitutive features of these pictures – how they produce what they claim to be. I argue that the “presence' of the deities in the photos is achieved through “incarnation practices.' But these pictures are not just a factual representation of alleged mystical events. They constitute an update (...) and a variation on the “Grand Christian Narrative' wherein the factual poses the moral problem of belief. In that sense, divine photography does not modify the epistemology of religious belief. (shrink)

It has long been thought that the ancient Greeks did not take mechanics seriously as part of the workings of nature, and that therefore their natural philosophy was both primitive and marginal. In this book Sylvia Berryman challenges that assumption, arguing that the idea that the world works 'like a machine' can be found in ancient Greek thought, predating the early modern philosophy with which it is most closely associated. Her discussion ranges over topics including balancing and equilibrium, lifting (...) water, sphere-making and models of the heavens, and ancient Greek pneumatic theory, with detailed analysis of thinkers such as Aristotle, Archimedes, and Hero of Alexandria. Her book shows scholars of ancient Greek philosophy why it is necessary to pay attention to mechanics, and shows historians of science why the differences between ancient and modern reactions to mechanics are not as great as was generally thought. (shrink)

Sylvia Berryman offers a fresh understanding of Aristotle's ethical theory, challenging the common belief that he aimed to give it a biological foundation in human nature. Berryman reinterprets Aristotle's views as a 'middle way' between the metaphysical grounding offered by Platonists and sceptical or subjectivist alternatives.

Vows play a central role in Buddhist thought and practice. Monastics are obliged to know and conform to hundreds of vows. Although it is widely recognized that vows are important for guiding practitioners on the path to enlightenment, we argue that they have another overlooked but equally crucial role to play. A second function of the vows, we argue, is to facilitate group harmony and cohesion to ensure the perpetuation of the dhamma and the saṅgha. However, the prominence of vows (...) in the Buddhist tradition seems at odds with another central part of the doctrine. For vows, like other promises, seem to involve representing a persisting self as the individual who undertakes the vow. And to explicitly appeal to a persisting self conflicts with one of the most important philosophical commitments of Buddhism – the no self view. We argue though that once we articulate the details of how vows generate behavior that conforms to them, we can see that no appeal to the self is required to internalize and act on vows. (shrink)

Sylvia Berryman - The Structured Self in Hellenistic and Roman Thought - Journal of the History of Philosophy 45:2 Journal of the History of Philosophy 45.2 324-325 Muse Search Journals This Journal Contents Reviewed by Sylvia Berryman The University of British Columbia Christopher Gill. The Structured Self in Hellenistic and Roman Thought. Oxford-New York: Oxford University Press, 2006. Pp. xxii + 522. Cloth, $150.00. Christopher Gill's masterful treatment of the notion of the self in Hellenistic and Roman thought (...) manages to shed remarkable clarity on a complex and fascinating field, even while challenging a prevailing view of the nature of the self in post-classical ancient Greek philosophy. Leading the reader through the views of figures as subtle and difficult as Plutarch, Posidonius,.. (shrink)

Art and its Objects by Richard Wollheim had a major impact on aesthetics and the philosophy of art when it was first published in 1968. Of the arguments offered in response to Wollheim’s essay, Jerrold Levinson’s intentional-historical theory of art has been one of the most enduring. Levinson was influenced by three key sections of Wollheim’s enquiry: Section 40, which considers the claim that works of art fall under a concept of art, or that we are disposed to regard certain (...) things as works of art; and Sections 60 and 61, which deal with art as a historical phenomenon, and problems arising from its identification and interpretation. To date, these claims have been raised as points of contention in the philosophy of art. This paper takes a different perspective. Wollheim’s understanding of art’s historicity draws explicitly on the literature of theoretical art history. Via Wollheim, old art-historical problems will reappear as new philosophical questions. (shrink)

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological interpretation (...) of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook. (shrink)

In this paper I outline a role for mechanistic conceptions of organisms in ancient Greek natural philosophy, especially the study of organisms. By ‘mechanistic conceptions’ I mean the use of ideas and techniques drawn from the field of mechanics to investigate the natural world. ‘Mechanistic conceptions’ of organisms in ancient Greek philosophy, then, are those that draw on the ancient understanding of the field called ‘mechanics’ — hê mêchanikê technê—to investigate living things, rather than those bearing some perceived similarity to (...) modern notions of ‘the mechanical.’ I have argued elsewhere that evidence of mechanistic conceptions of the natural world can be found, not only among seventeenth and eighteenth century ‘mechanical philosophers,’ but also—albeit in vestigial form — in some ancient Greek texts. Unfortunately, these reports are slight, often by detractors of this approach, and offer only clues as to the motivational context for employing these mechanical conceptions. Here, my purpose is to suggest what role they might have played in the history of natural philosophy. (shrink)

Philosophy in the period immediately after Aristotle is sometimes thought to be marked by the decline of natural philosophy and philosophical disinterest in contemporary achievements in the sciences. But in one area at least, the early third century B.C.E. was a time of productive interaction between such disparate fields as epistemology, physics and geometry. Debates between the sceptics and the dogmatic philosophical schools focus on epistemological problems about the possibility of self-evident appearances, but there is evidence from Euclid's day of (...) a quite different response. The sceptical challenge provoked the development of theories explaining error formation, showing how illusions can be studied systematically and are subject to prediction. Such theories do not legitimate claims about the nature of the underlying entities perceived, but provide justification for forming expectations about future perceptions. While it overtly focuses on purely geometrical considerations, the Euclidean model of optics nonetheless provides support for certain views about the nature of vision and the physics of light. Moreover, by offering a model in which the image received is not thought to be a perspicuous mirroring of the object seen, Euclid may have helped promote a view of perception as something reconstructed from information received, not as a mere form transferred into the eye. The ancient sceptic may indeed have fulfilled his promise to promote inquiry by focusing attention on problems that escape the attention of a hasty theorist. (shrink)

This paper explores the intersection of art history and AI technology. Special attention is paid to Generative Adversarial Networks (GANs), a machine learning technology widely used in AI art. This technology is particularly interesting to art history and the philosophy of art because it raises enduring questions about the creative process of artmaking, especially what constitutes a new and original work of art. While this is a relatively new area, it is possible to discern emerging directions where art and AI (...) intersect. One pressing issue concerns the use (or misuse) of algorithmically enabled technologies and datasets to perpetuate longstanding art-historical biases. The critical position adopted in this paper shares this concern. I examine a notable example of GAN technology that claims to create original art styles. While such experiments in computational creativity are technically interesting, their artistic aims can be questionable. I argue a mechanical model of artistic development based solely on the autonomy of style is problematic for at least two reasons: 1) it uncritically reinstates a formalist view of art history; 2) it recreates a narrow style-centric ‘historical modernism.’ However, despite voicing these reservations, I also discuss the potential of this technology to engage with topics of critical relevance to art history and the philosophy of art. (shrink)

In the latter half of the twentieth century, some prominent ethicists turned to the history of philosophy to challenge the prevailing trend toward subjectivism or noncognitivism. G. E. M. Anscombe offered the first of several historical narratives challenging the world picture that undergirded this prevalence, narratives in which Aristotelian ethics is presented as a possible alternative. It is striking, however, how differently these narratives characterize the ancient–modern divide and how differently Aristotle is interpreted, particularly on the issue of his appeal (...) to naturalism in ethics. The tendency to view Philippa Foot as Anscombe’s best interpreter might leave us with the unfortunate supposition that Aristotelian ethics is saddled with an implausible Archimedean naturalism. The author suggests that there is another way to read Anscombe’s message, which does not fetter it to a kind of metaphysical biology that we have no reason to accept. (shrink)

While historians of art have found death masks and life casts conceptually problematic, it is also noteworthy that these objects have received scant attention from philosophers of art. In this paper, I begin to redress this omission by offering examples of how the philosophy of art can help us understand these images. Two problems stand out: the problem of representation, for example, what type of representation a death mask is; and the problem of style and historicity, for example, whether images (...) imprinted from nature can indicate styles, and whether these images can evolve and transform along art-historical lines. After considering these problems, I conclude that these images are constrained in what they can and cannot represent. While there is a long tradition of imprinting from nature, this practice shows little discernible change over time. An unchanging tradition cannot claim to exhibit a history, at least in a narrative sense familiar to art history. The following investigation opens a dialog between Arthur Danto’s philosophy of art and practitioners of theoretical art history, including Ernst Gombrich and Georges Didi-Huberman, both of whom offer differing views on how these images can be treated. (shrink)

Aristotle has traditionally been cast as the arch-enemy of all things mechanistic. Given the dichotomy long thought to exist between mechanistic and teleological schools of thought, there is a satisfying irony in discovering veins of apparently ‘mechanistic’ thought within the work of the definitive teleologist. Several waves of scholarship in the past century have argued, from different angles, for mechanistic interpretations of Aristotle’s natural philosophy. The present generation is no exception: in the last decade, Jean De Groot, Monte Johnson, and (...) Tiberiu Popa have variously argued that a mechanistic vein can be found in Aristotle’s work, despite his undeniable teleological credentials. This paper explores the assumptions—some of them open to question—that accompany such advocacy. It will urge some terminological refinements, and turn a skeptical lens on some aspects of these projects. Nonetheless, it will stress that they open promising lines of inquiry, avoiding some of the limitations of earlier ventures into this territory. (shrink)

A large part of the difficulty of writing "conceptual history"—to borrow a term from Reviel Netz —is that once an illuminating new conceptual framework is articulated, it begins to seem self-evident and commonsensical to later thinkers. The historian's task of problematizing the obvious, and showing us the moves by which commonsense came to be created historically, is an arduous and challenging one, requiring resources of imagination, patience, and attention to detail. Sattler displays all those qualities in this dense and demanding (...) study, and a review needs to begin by acknowledging the sheer... (shrink)

An oft-cited truism about the emergence of a new, ‘mechanistic’ approach to natural philosophy in the seventeenth century is that it was inspired by analogy to the workings of clockwork. In Authori...

To date, critical engagement with Arnold Hauser’s sociology of art has been confined to the field of art history. This perspective has ignored Hauser’s interest in literary history, which I argue is essential to his project. Hauser’s dialectical model, composed of conflicting realist and formalist tendencies, extends to the literary sphere. In The Social History of Art, these two traditions are epitomised by the Russian social novel and German idealism. Anti-enlightenment tendencies in German intellectual culture provide Hauser with evidence of (...) idealism’s propensity for escapism and reaction. Conversely, he extols the Russian social novel as the naturalistic art form par excellence. Because the intelligentsia is central to Hauser’s understanding of the formation of literary culture, this paper provides an outline of his sociology of intellectuals. Through a comparison of the German and Russian literary intelligentsia, this paper shows that Hauser’s analysis of literature is often more complex than his sociological interpretations of the visual arts. (shrink)

The concept of the Formalesque preoccupied Bernard Smith during the last decades of his life. First propounded in Modernism's History (1998), the Formalesque is a proposed period style describing the art of the 20th century. Yet, despite his ambitions for the Formalesque as a new classification for modern art, the idea failed to appeal to academic art history. This paper does not attempt to salvage the Formalesque from art-historical obscurity. But it does argue Smith's work on this topic is relevant (...) by virtue of the contribution it makes to debates about modernism and art history. Although Smith's thesis emphasizes the necessity of period styles and the perennial development of art history, paradoxically, the Formalesque also highlights the limitations of art history. If the Formalesque has a place in art historiography, it belongs to a speculative discourse describing the end of the history of art. (shrink)

The chapters included in the book show how the researchers find, discover and invent methodology that benefits both the researcher and subject, from their insider knowledge and from the epistemology of others. The book is ideally suited for qualitative research work and therefore would be used in Research Qualitative Methods courses.

First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite its (...) considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades. (shrink)

Peter Singer’s groundbreaking call to action in 1972, “Famine, Affluence, and Morality,” drew philosophical attention to the topic of famine and the associated suffering or preventable death of many throughout the world. Yet despite the volume of philosophical work Singer’s paper inspired, it would still be easy to suppose that global poverty is not a problem for philosophers to take seriouslyin itselfbut is rather a particularly stark illustration or instance of a more general problem, whether in ethics or in political (...) philosophy. The aim of this paper is to argue that the philosophical landscape of global poverty is both sui generis and sufficiently complex that the topic should be considered not as an instance of a more general philosophical problem but as a distinct area of normative inquiry. (shrink)

A discussion of Lloyd's Tarner Lectures at Trinity College. The importance of Lloyd's previous scholarship is characterized and these sweeping, erudite lectures are placed in the context of that scholarship. In the broadest terms, the lectures are a call to culturally and historically comparative study of human reasoning. At their heart is a comparative history of scientific theorizing from the ancients through to modern science. Lloyd rejects the positivist picture, and the view of modern and ancient science as discontinuous; he (...) urges scholars to undertake comparative work on the ancient sciences in different traditions. This critical notice evaluates Lloyd's view and raises several questions for further reflection. (shrink)

Vere Gordon Childe’s theory of craft specialisation was an important influence on Arnold Hauser’s book The Social History of Art, published in 1951. Childe’s Marxist interpretation of prehistory enabled Hauser to establish a material foundation for the occupation of the artist in Western art history. However, Hauser’s effort to construct a progressive basis for artistic labour was complicated by art’s ancient connections to religion and superstition. While the artist’s social position and class loyalties were ambiguous in Childe’s accounts of early (...) civilisations, Hauser consigned artists to the lower echelons of society. This relegation did not imply that Hauser had a low regard for artistic skills. Quite the opposite, the artist’s inferior social status enabled Hauser to distance artists from the ruling class, and consequently, to separate artistic handiwork from the dominant ideology that works of art manifested. (shrink)

How can I give you a reason to believe what I tell you? I can influence the evidence available to you. Or I can simply invite your trust. These two ways of giving reasons work very differently. When a speaker tells her hearer that p, I argue, she intends that he gain access to a prima facie reason to believe that p that derives not from evidence but from his mere understanding of her act. Unlike mere assertions, acts of telling (...) give reasons directly. They give reasons by inviting the hearer’s trust. This yields a novel form of anti-reductionism in the epistemology of testimony. The status of testimony as a sui generis source of epistemic warrant is entailed by the nature of the act of telling. We can discover the nature of this illocution, and its epistemic role, by examining how it functions in the real world of human relations. (shrink)

The Nature of God explores a perennial problem in the philosophy of religion.