This paper challenges the widely held assumption that paintings and other works of graphic art have a communicable rhythmic structure. I defend the view that although the experience of viewing a picture takes place in time, and thus is successive, it cannot be temporally structured in a sufficiently determinate manner to sustain the kind of attentional focus required for the communication of even simple rhythmic patterns. With reference to examples of both abstract and figurative painting, I argue that the graphic (...) arts—unlike music and poetry—are non-sequential and that this has important consequences for how a work of graphic art is perceived. In the concluding sections of the paper, I consider some recent empirical research that offers an alternative way of approaching these issues. (shrink)

This paper examines the assumptions underpinning one of the constitutive elements of the modern concept of art: the idea of aesthetic autonomy. I argue that the orientation of recent art practice towards what has come to be termed ‘site-specificity’ is best understood as a progressive relinquishment of the principle of aesthetic autonomy. I develop this position through a close analysis of the work of Miwon Kwon. The paper is intended as a case-study that investigates the problematic relation between historical and (...) philosophical enquiry. CiteULike Connotea Del.icio.us What's this? (shrink)

The book brings together thirteen essays presented to medical and psychiatric societies, mainly during the 1970's and 1980's. In these essays, Gadamer justifies the reasons for a philosophical interest in health and medicine, and a corresponding need for health practitioners to enter into a dialogue with philosophy.

The emergence of Bildwissenschaft as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft (...) and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 115-132 [Access article in PDF] Schiller's Theory of Landscape Depiction Jason Gaiger This paper offers a critical discussion of the theory of landscape depiction which Friedrich Schiller developed in an important but neglected article on the work of Friedrich Matthisson, published in 1794. 1 The question of the value and status of landscape painting and poetry was far from (...) settled at the end of the eighteenth century, and Schiller's essay should be seen as making an important contribution to an ongoing debate. 2 The second half of the eighteenth century is marked by a profound ambivalence towards the natural world. On the one hand there is a remarkable "rediscovery" of nature, evidenced in such diverse but related phenomena as the vogue for English gardens and the appreciation of wild and "untamed places," such as the Alps and the Herz mountains. It is also the age of "sentiment," embracing a heightened sensitivity to all aspects of the physical world. And yet when we turn to the visual arts, we find landscape painting ranked far below history painting and portraiture. Precedence is given to the representation of human actions and emotions, and the depiction of the human figure remains the highest goal of ambitious art.The modern hierarchy of the genres was first established on a firm theoretical and practical basis with the founding of the French Royal Academy in the seventeenth century. The painter of living animals is ranked higher than the [End Page 115] painter of inanimate nature who depicts "choses mortes et sans mouvement." 3 The painter of human subjects, who imitates "the most perfect work of God," stands higher still. The highest achievement to which the artist can aspire, however, is history painting, the depiction of groups of figures in themes derived from biblical and mythical sources. To achieve this, the artist cannot depict what he sees but must employ both knowledge and imagination. The fundamental opposition here is between painting as a merely imitative or mechanical art, which is addressed to the eye alone, and painting as a work of "invention" or "imagination," which is addressed to the mind. Only the latter constitutes a properly liberal art, entitling the painter to stand alongside the poet as "un auteur ingénieux et savant" over and above the mere artisan or skilled laborer.The great popularity enjoyed by landscape painting in the seventeenth and eighteenth centuries was not met by any comparable elevation in its status as a fine art. Addressing students of the Royal Academy in London in 1770, Joshua Reynolds could continue to dismiss landscape and still-life as the "meaner walks of painting" which require only "mechanical" expertise. 4 For Reynolds the status of painting as a fine art is established through its treatment of the great subjects of history painting, that is, the depiction of human passions and the intellect. Only in tackling such themes does the artist succeed in addressing the imagination, which Reynolds describes as the "great end of art." 5 Although of comparatively recent origin, the genre of "landscape poetry" remained equally problematic and could not easily be reconciled with classicist ideals. New categories seemed to be required to comprehend the work of poets such as Albrecht von Haller and James Thomson, in which the varied and ever-changing aspects of the natural landscape were made the central protagonists of the poetic drama. While traditional forms such as the bucolic, the Arcadian, and the pastoral allowed the depiction of rural existence, the new "descriptive poetry" sought to celebrate the life of nature independently of man's intervening presence: it is nature itself rather than man's relation to nature which is made the poet's primary concern.Schiller's review of the third, expanded edition of Matthisson's poetry appeared in two parts in the Jenaer Allgemeine Literatur-Zeitung, 11-12 September 1794. While the second half of the review is given over to a detailed discussion of Matthisson's poetry, the first part is reserved for an extended theoretical discussion in which Schiller... (shrink)

Drawing on recent attempts to critically reconstruct the ideas of Heinrich Wölfflin, this paper argues that there is a specific ‘logic of depiction’ that is distinctive to visual as opposed to verbal forms of representation. The aim is to provide a set of objective parameters that can allow a comparative analysis of the formal organization of pictures despite differences in period, subject matter, format, etc. The paper seeks to show that such an analysis is possible and that it possesses explanatory (...) force. Its frame is a critical engagement with Richard Wollheim's theory of style. Wollheim holds that general style terms are merely tools of classification and that they are relative to the changing point of view of those who seek to understand the art of the past. However, the critical reconstruction of Wölfflin's fundamental concepts aims to identify necessary conditions for visual representation as such. The fundamental concepts function not as taxonomic categories but as ‘limit concepts’ that demarcate a scale of possibilities and thus enable meaningful comparison of artworks. (shrink)

This reader, a companion to The Open University's four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists. The writings were originally published as freestanding essays or chapters in books, and they reflect the diversity of art historical interpretations and theoretical approaches to twentieth-century art. Accessible to the general reader, this book may be read independently or to supplement the materials explored in the four course texts. The volume includes a general introduction (...) as well as a brief introduction to each piece, outlining its origin and relevance. (shrink)

This paper addresses two key works in the eighteenth‐century debate on the problem of taste: the Abbé Du Bos's Réflexions critiques sur la poésie et sur la peinture and David Hume's ‘Of the Standard of Taste’ . A successful solution to the ‘paradox of taste’ should sustain the democratising impulse behind Du Bos's appeal to the judgment of the ‘public’ whilst, at the same time, acknowledging the role of learning and discovery which underpins Hume's recourse to the opinion of the (...) best qualified critics. This can be achieved, it is argued, by taking up a standpoint which is internal to our actual arguments or disputes about art, drawing upon and recommending a set of practices which allow for the development and revision of our judgments about works of art. (shrink)

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with (...) a wide range of sources-from the classics to Norse legend, Shakespeare to the Bible-to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, Sculpture is also important as an anticipation of subsequent developments in art theory. Jason Gaiger's translation of Sculpture includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text. (shrink)

We argue against Christopher Meyers’s call for clinical ethicists to participate in deceiving patients, surrogate decision-makers, or family members. While we acknowledge that some forms of deception may be ethically appropriate in highly circumscribed situations, the type of case Meyers describes as involving justifiable deception differs in at least two important ways. First, Meyers fails to distinguish acts of deception based on the critical feature of who is being deceived—patient, surrogate, or family member—and the overarching duty to respect the autonomy (...) of relevant decision-makers to make rationally-informed decisions. Second, Meyers’s analysis relies on an assessment of harm, a value-laden concept which health care professionals and ethicists should not presumptively assess without considering how the patient, surrogate, or family might assess specific harms. (shrink)

There is a perpetrator historiography of the Holocaust and a Jewish historiography of the Holocaust. The former has received the lion’s share of attention in bioethics, particularly in the form of warnings about medicine’s potential for complicity in human atrocity. However, stories of Jewish physicians during the Holocaust are instructive for positive bioethics, one that moves beyond warnings about what not to do. In exercising both explicit and introspective forms of resistance, the heroic work of Jewish physicians in the ghettos (...) and concentration camps tells us a great deal about the virtues and values of medicine. In this article, we frame the stories of four of these Jewish physicians in ways that are instructive for contemporary medicine. By far, the most widely recognized and discussed figure is Viktor Frankl, whose work on hope and the meaning of suffering remains essential insofar as medicine inherently confronts disease and death. Less discussed in bioethics and medical humanities are the cases of Mark Dworzecki, Karel Fleischmann, and Gisella Perl. Dworzecki’s efforts to encourage others in the Vilna Ghetto to document their experiences illustrates the power of narrative for the human experience and the notion of ethics as narrative in the face of suffering. Fleischmann’s art underscores not only the importance of reflective practices for professionals as a form of simultaneous introspection and testimonial, but illuminates hope amid sheer hopelessness. This hope, which was comparatively implicit in much of Fleishmann’s art, is explicated as a method by Frankl, becoming a form of therapy for both physicians wrestling with their professional work, and patients wrestling with their illnesses and diseases. Finally, Perl’s resistance to Mengele’s orders highlights the importance of moral action, not just reflective reaction. The experiences of each of these figures, while certainly located in the unique horrors of Holocaust Germany, portends lessons for today’s physicians faced with moral distress and ethical dilemma in the face of suffering, interpersonal relationships, and socio-political conflicts that increasingly test the professed ideals of medicine. In this article we briefly tell the story of each of these physicians and connect the lessons therein to contemporary medical practice. (shrink)

Most economists believe capitalism is a compromise with selfish human nature. As Adam Smith put it, "It is not from the benevolence of the butcher, the brewer, or the baker, that we expect our dinner, but from their regard to their own interest." Capitalism works better than socialism, according to this thinking, only because we are not kind and generous enough to make socialism work. If we were saints, we would be socialists. In Why Not Capitalism ?, Jason Brennan (...) attacks this widely held belief, arguing that capitalism would remain the best system even if we were morally perfect. Even in an ideal world, private property and free markets would be the best way to promote mutual cooperation, social justice, harmony, and prosperity. Socialists seek to capture the moral high ground by showing that ideal socialism is morally superior to realistic capitalism. But, Brennan responds, ideal capitalism is superior to ideal socialism, and so capitalism beats socialism at every level. Clearly, engagingly, and at times provocatively written, Why Not Capitalism? will cause readers of all political persuasions to re-evaluate where they stand vis-à-vis economic priorities and systems—as they exist now and as they might be improved in the future. (shrink)

In this paper, I provide a cross-cultural comparison between the life and work of the English land- and seascape painter, J.M.W. Turner, and the conception of aesthetic experience and artisanship f...

A contentious feature in the thought of Arthur Schopenhauer is his account of the Platonic Ideas. This is no doubt evidenced by the scholarly literature where various difficulties have been identified in regards to this introduction, and often varying positions maintained. Within this essay, I offer a survey of the major debates surrounding this issue. Following this, I turn to a specific question related to Schopenhauer’s claim that his own account of the Platonic Ideas is authentic to the original views (...) of Plato himself. I show that, excepting minor points of similarity, Schopenhauer’s account is quite inauthentic to that of Plato. Still more, drawing upon his distinction between abstract and intuitive knowledge, I offer an interpretation of the relationship between Genius and contemplation employing the concept of a “circle of signification”. Finally, I identify some difficulties in relation to Schopenhauer’s views. (shrink)

Achieving valid informed consent from a human research participant involves an ongoing process designed to protect the participant and ensure their rights, safety, and well-being are not compromise...

I support Abram Brummett’s contention that there is a need for secular clinical ethics to acknowledge that various positions typically advocated for by ethicists, concerning bedside decision-making and broader policy-making, rely upon metaphysical commitments that are not often explicit. I further note that calls for “neutrality” in debates concerning conscientious refusals to provide legal health care services—such as elective abortion or medical aid-in-dying—may exhibit biases against specific metaphysical claims regarding, for instance, the ontological and moral status of fetuses or the (...) valuing of the phenomena of life, suffering, and dying/death, as constitutive of medicine’s internal morality as a profession. I conclude that there is an operative distinction between metaphysical views founded essentially upon religious tenets and those founded upon rationally defensible premises. (shrink)

In morally grounding a public justification requirement, public reason liberals frequently invoke the idea that persons should be construed as “free and equal.” But this tells us little with regard to what it is about us that makes us free or how a claim about our status as persons can ultimately ground a requirement of public justification. In light of this worry, I argue that a public justification requirement can be grounded in a Nozick-inspired argument from the separateness of persons (...) (one that is consistent with the idea that individuals are free and equal). As I claim, one particular feature of the fact of our separateness – the possession of a basic psychology consisting of beliefs, intentions, sentiments, and a variety of desire-like psychological states – does the most work in grounding both a principle of liberty (PL) and a requirement of public justification (RPJ). Together, PL and RPJ provide the basic framework for a theory of public reason liberalism. (shrink)

Thomas Aquinas was concerned with developing a metaphysical account of the article of Christian faith which asserts that a human person will experience a bodily resurrection at some point after death. This article of faith is prima facie in line with Aquinas’ Aristotelian assertions that a human soul is incorruptible per se and that it is in its natural state only when it is united to a material body of which it is the informing principle. But how is personal identity (...) maintained between the pre-mortem union of body and soul, the soul in its separated state, and the post-resurrection union of body and soul? In this paper, I will address and attempt to show Aquinas’ answer to this question and its dependence on his metaphysics. (shrink)

In his doctoral dissertation On the Principle of Sufficient Reason, Arthur Schopenhauer there outlines a critique of Euclidean geometry on the basis of the changing nature of mathematics, and hence of demonstration, as a result of Kantian idealism. According to Schopenhauer, Euclid treats geometry synthetically, proceeding from the simple to the complex, from the known to the unknown, “synthesizing” later proofs on the basis of earlier ones. Such a method, although proving the case logically, nevertheless fails to attain the raison (...) d’être of the entity. In order to obtain this, a separate method is required, which Schopenhauer refers to as “analysis,” thus echoing a method already in practice among the early Greek geometers, with however some significant differences. In this essay, I here discuss Schopenhauer’s criticism of synthesis in Euclid’s Elements, and the nature and relevance of his own method of analysis. (shrink)

This paper explores Nicholas of Cusa’s framing of the De pace fidei as a dialogue taking place incaelo rationis. On the one hand, this framing allows Nicholas of Cusa to argue that all religious rites presuppose the truth of a single, unified faith and so temporally manifest divine logos in a way accommodated to the historically unique conventions of different political communities. On the other hand, at the end of the De pace fidei, the interlocutors in the heavenly dialogue are (...) enjoined to return to earth and lead their countrymen in a gradual conversion to the acceptance of rites which would explicitly acknowledge the metaphysically presupposed transcendent unity of all true faiths. In light of these two aspects of the literary framing of the De pace fidei, the question that motivates this paper concerns the extent to which the understanding of history subtending Cusanus’ temporal political aims is consistent with the understanding of history grounded in his metaphysical presupposition that there is una religio in omni diversitate rituum. In addressing this question, I shall argue that the literary strategy of the De pace fidei sacrifices Nicholas of Cusa’s apologetic doctrinal aims insofar as the text creates an allegorical space in which the tension between its literal and figurative dimensions assigns to its readers the task of choosing their own orientations to the significance of history as a foundation for future action. (shrink)

The purpose of this paper is to explore whether laypersons can competently evaluate the specialized claims offered by experts. Since it is a lack of knowledge about a subject area that makes someone a layperson with respect to that area, the layperson may be unable to understand and assess what an expert knows.

What are the non-monetary dimensions of selling sex? This article offers a cultural approach to the question of sexual labors, drawing on field observations and interviews in a community of gay men in Dakar, Senegal. Removing the notion of sexual labors from the stigmatized zone of “survival sex,” I explore the affective, extramonetary dimensions of sexual labors. The men in this study labor not simply to make money. Instead, I argue that against a highly gendered cultural backdrop, one where male (...) admiration is often written synonymously with money and gift giving, gay men experience a validation of their self-worth and homoerotic attraction through sexual labors. The extent to which they derive recognition from sexual labors not only subverts the gendered heteronormative paradigm, but also is paradoxically conditioned by it. Beyond sexual labors, however, this article also engages a broader question—how do gay men forge a positive sense of self amidst a variety of oppressive forces? The answer is not only through sexual labors, but also through initiation into a gay identity and community, an ethos of generosity and solidarity, kinship ties, and an ethic of sexual discovery, each taking shape alongside these labors. (shrink)

ABSTRACT This paper explores the dynamics of extrinsic pressure in sport and its relation to athletic excellence. We argue that psychological pressure exerted by activities extrinsic to sport can be relevant to success or failure in it, such that how one manages extrinsic pressures can transmit to failure to perform in sport and thus be a determinant to victory, with no reason to think failure mitigated by the non-sporting nature of one’s other behaviour. To make this argument we offer a (...) series of examples to test intuitions about what constitutes sporting excellence and what constitutes sporting failure. On the basis of these examples, we offer a categorization of pressures in sport and argue that psychological pressure from almost any area of life may be relevant to competition, whether intrinsic or extrinsic to the sporting contest. We substantiate this claim by proposing a framework for adjudicating the relevance of extrinsic pressures to sporting performance by appealing to the internal goods of each sport and their contribution to flourishing. (shrink)