The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic creations (...) from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

Uses cinema both to depict a variety of situations in which questions of media ethics arise, and to illustrate classic and contemporary ethical theories.

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

There's so much more to being a detective than just seeing the clues right in front of your eyes. What makes a detective great is that she can figure out the truth she's not seeing—the hidden explanation behind an otherwise scattered array of facts and appearances. She can puzzle through the observed facts to get at the hidden truth. That's where Veronica Mars excels, and that's what makes her special. Veronica is, of course, no stranger to fieldwork. Being a detective (...) is more than just being a well‐trained bloodhound that can pick up a scent—it's about being able to think, reason, and make good inferences. This chapter talks about deductive and inductive inferences. It analyzes what kind inference Veronica draws when she determines that Beaver is responsible for the crash. (shrink)

Oscar Wilde's The Picture of Dorian Gray, McGinn argues, presents in an extreme and exemplary form, the power of the aesthetic to conceal and to express evil; it shows us what happens if the aesthetic is allowed to dominate over the moral. The character of Dorian has an exterior beauty, which is taken as a sign of virtue, but he has an inner ugliness or an ugliness of soul, which is identified as moral depravity. The lesson of Dorian Gray, (...) McGinn argues, is that the aesthetic and the moral are inseparable, and it is only the concept of the beautiful soul that can keep the aesthetic impulse under control. (shrink)

This chapter focuses on the human body and how it falls out of Spinoza's physical picture in a natural way that it is a modification of something more fundamental. Spinoza's further view that the human mind is Substance's understanding of the universe when restricted to the human body implies that the mind, too, is a modification of something more basic, namely, Substance's thought. The appearance of a human body in Spinoza's plenum is merely the emergence of a new pattern of (...) motion and rest within Extension. The Aristotelian thesis that the real definition of a human being is rational animal may sound to us too “logical” or “formal” to count as a piece of natural philosophy, a piece of natural science. Spinoza's view that finite things depend on the invariant structure of some more basic order brings his natural philosophy much closer to ours than to Aristotelian natural philosophy. (shrink)

The consent and community engagement process for research with Indigenous communities is rarely evaluated. Research protocols are not always collaborative, inclusive or culturally respectful. If participants do not trust or understand the research, selection bias may occur in recruitment, affecting study results potentially denying participants the opportunity to provide more knowledge and greater understanding about their community. Poorly informed consent can also harm the individual participant and the community as a whole. Invited by local Aboriginal community leaders of the Fitzroy (...) Valley, the Kimberley, Western Australia, The Picture Talk project explores the consent process for research. Focus groups of Aboriginal community members were conducted to establish preferences for methods of seeking individual consent. Transcripts were analysed through NVivo10 Qualitative software using grounded theory with inductive and deductive coding. Themes were synthesised with quotes highlighted. Focus groups with Aboriginal community members were facilitated by a Community Navigator as a cultural guide and interpreter and a researcher. Participants were recruited from all main language groups of the Fitzroy Valley – Gooniyandi, Walmajarri, Wangkatjungka, Bunuba and Nikinya. Participants were aged ≥18 years, with 5 female groups and one male group. Themes identified include: Reputation and trust is essential; The Community Navigator is key; Pictures give the words meaning – milli milli versus Pictures; Achieving consensus in circles; Signing for consent; and Research is needed in the Valley. Aboriginal communities of the Fitzroy Valley recommend that researchers collaborate with local leaders, develop trust and foster a good reputation in the community prior to research. Local Aboriginal researchers should be employed to provide cultural guidance throughout the research process and interpret local languages especially for elders. Pictures are preferred to written text to explain research information and most prefer to sign for consent. The Fitzroy Valley welcomes research when collaborative and for the benefit of the community. Future research could include exploring how to support young people, promote health screening and improve understanding of medical knowledge. (shrink)

Church has contributed a lot to the safeguard of G. Frege's theory of meaning after the discovery of antinomies in it. To achieve this he has adapted it by keeping parts, discarding others and adding new ones, most of which are clearly exposed in an informal way in the introduction to his Introduction to Mathematical Logic. As for any modification of a theory by another person, it is interesting to understand how the thoughts of the former survive in the new (...) theory even though radical changes have occurred, or on the contrary how it retains only the appearance of the initial theory. We shall therefore go through the basic concepts of logic he introduces in this introduction and assess their relation to Frege's original theory. (shrink)

This chapter aims to attempt no more than to make some informal and unsystematic remarks on the transformation of analytic philosophy. It deals with a few sketchy remarks on the historiography of recent analytic philosophy. Writing in 1981, David Lewis described “a reasonable goal for a philosopher” as bringing one’s opinions into stable equilibrium. A natural comparison is between Lewis’s Quinean or at least post‐Quinean methodology and the methodology of Peter Strawson, Quine’s leading opponent from the tradition of ordinary language (...) philosophy. Analytic epistemology provides a good case study of the philosophical application of Gricean pragmatics outside the philosophy of language. On Michael Dummett picture of the history of philosophy, Descartes had made epistemology first philosophy, the engine for the rest of philosophy, and then Frege had replaced epistemology by the philosophy of language as first philosophy. The chapter suggests that philosophy sometimes already uses an abductive methodology and ought to use it more in the future. (shrink)

pt. II. Observation and recall as a function of age.--pt. III. Fidelity of report as a measure of adult intelligence.--pt. IV. The technique of mental-test surveys among adults.

Beyond the defiance of the young iconoclast—Wilde himself, of course—and the rather perfunctory curve of Dorian Gray to that gothic final sight , there is another, possibly less strident, but more central theme. That one is damned for selling one's soul to the devil is a commonplace in legends; what arrests our attention more, perhaps, is Wilde's claim or boast or worry or warning that one might indeed be poisoned by a book . . . and that the artist, even (...) the presumably "good" Basil Hallward, is the diabolical agent. Wilde's novel must be seen as a highly serious meditation upon the moral role of the artist—an interior challenge, in fact, to the insouciance of the famous pronouncements that would assure us that there is no such thing as a moral or an immoral book or that all art is "quite useless." Wilde's genius was disfigured by his talent: he always sounds much more flippant, far more superficial, than he really is. So one always say about Dorian Gray, with an air of surprise, that the novel is exceptionally good after all—and anyone who has read it recently replies, with the same air of faint incredulity, yes, it is exceptionally good—in fact, one of the strongest and most haunting of English novels. Yet its reputation remains questionable. Gerald Weales virtually dismisses it as "terribly fin de siècle " in a rather flippant introduction to the novel, and it would be difficult to find a critic who would choose to discuss it in terms other than the familiar ones of decadence, art for art's sake, art as "the telling of beautiful untrue things." Joyce Carol Oates has written, among others, Bellefleur, Childhood, a collection of short stories, Nightside, and Son of the Morning. Her contributions to Critical Inquiry, include "Jocoserious Joyce" and "Lawrence's Gotterdammerung". (shrink)

Religious faith focuses on whatever it is that persons sense themselves to be ultimately dependent on and which they acknowledge themselves to owe unqualified and overarching commitment. It is what is entitled to matter most among all the things that concern persons in life, and to matter more than all other concerns taken together. It is that envisioned font of meaning from which all other meanings ultimately flow. As such, it is mysterious, elusive, awe-inspiring, and finally unspeakable and indescribable. It (...) is believed to lie at the heart of the universe and to be entitled to guide and rule each human heart.This distinctively religious focus can be a personal divine being, as in monotheism; a class of such... (shrink)

It is often assumed that there is a perceptual conflict in looking at a picture since one sees both a two-dimensional surface and a three-dimensional scene simultaneously. In this paper, I argue that it is a mistake to think that looking at pictures requires the visual system to perform the special task of reconciling inconsistent impressions of space, or competing information from different depth cues. To the contrary, I suggest that there are good reasons to think that the perception (...) of depth in pictures is achieved in much the same way as is the perception of depth in any ordinary case. (shrink)

Many studies require standardized and replicable protocols composed of emotional stimuli. To this aim, several databases of emotional pictures are available. However, there are only few images directly depicting interpersonal violence, which is a specific emotion evocative stimulus for research on aggressive behavior or post-traumatic stress disorder. The objective of the current study is to provide a new set of standardized stimuli containing images depicting interpersonal situations. This will allow a sensitive assessment of a wide range of cognitions linked to (...) social interaction. To this aim, 240 participants rated the valence and arousal of 79 pictures collected from online sources in 2018. Results showed a distinctive pattern of valence and arousal regarding the picture content and specific associations between those two dimensions. Taken together, these results suggest a good reliability of the selected images. In conclusion, our study provides an open access set of recent pictures depicting interpersonal situations along with normative valence and arousal ratings, that are available for download from: https://osf.io/ak4m7/?view_only=None. (shrink)

Researchers are required to seek consent from Indigenous communities prior to conducting research but there is inadequate information about how Indigenous people understand and become fully engaged with this consent process. Few studies evaluate the preference or understanding of the consent process for research with Indigenous populations. Lack of informed consent can impact on research findings. The Picture Talk Project was initiated with senior Aboriginal leaders of the Fitzroy Valley community situated in the far north of Western Australia. Aboriginal people (...) were interviewed about their understanding and experiences of research and consent processes. Transcripts were analysed using NVivo10 software with an integrated method of inductive and deductive coding and based in grounded theory. Local Aboriginal interpreters validated coding. Major themes were defined and supporting quotes sourced. Interviews with Aboriginal leaders were facilitated by a local Aboriginal Community Navigator who could interpret if necessary and provide cultural guidance. Participants were from all four major local language groups of the Fitzroy Valley; aged 31 years and above; and half were male. Themes emerging from these discussions included Research—finding knowledge; Being respectful of Aboriginal people, Working on country, and Being flexible with time; Working together with good communication; Reciprocity—two-way learning; and Reaching consent. The project revealed how much more there is to be learned about how research with remote Aboriginal communities should be conducted such that it is both culturally respectful and, importantly, meaningful for participants. We identify important elements in community consultation about research and seeking consent. (shrink)

Explore how the principles of a global ethic can be found in Judaism and how they can provide the ethical norms for all religions to work together toward a more ...

How are we to account for the authority granted to first-person reports of mental states? What accounts for the immediacy of these self-ascriptions; the fact that they can be ascribed without appeal to evidence and without the need for justification? A traditional, Cartesian conception of the mind, which says that our thoughts are presented to us directly, completely, and without distortion upon mere internal inspection, would account for these facts, but there is good reason to doubt the cogency of (...) the Cartesian view. Wittgenstein, in his later writings, offered some of the most potent considerations against the traditional view, and contemporary philosophy of mind is practically unanimous in rejecting some of the metaphysical aspects of Cartesianism. But anyone who repudiates Cartesianism shoulders the burden of finding another way to accommodate its apparent epistemological strengths. (shrink)

Conceptual analysis aims to uncover the basic criteria of concepts that underwrite categorizing members via the method of cases. However, conceptual analysis has not been very successful and experimental philosophy has increasingly detailed this lack of success. This essay reviews Thinking Off Your Feet: How Empirical Psychology Vindicates Armchair Philosophy by Michael Strevens, which attempts a novel defence of conceptual analysis. It is a strategic intervention that seems to preserve a relatively traditional picture of philosophical inquiry. I concentrate on several (...) assumptions in this intervention that might be questioned and conclude there are good reasons to continue an interrogation of how we understand the philosophical enterprise. Ideally, this might encourage us to rebuild our picture of what philosophy is. (shrink)

Many people are uncomfortable with the idea that pleasure from certain sources is genuinely beneficial. These sources can be sorted into two classes: ones that involve others’ pain; and ones that involve what seems to be damage rather than benefit to the person involved. Here’s an example of the latter: a woman who claims that she enjoys her work performing in hard-core pornographic films. Some find it hard to take such a claim at face value – they instinctively assume that (...) the woman is insincere or self-deceived.1 The reason seems a strongly paternalistic one: because the activity is assumed to be bad, it’s thought that only someone who was in some way damaged could genuinely like it. A statement from Brian Hill, the director of a documentary about such women, illustrates this: ‘I felt certain that she couldn’t enjoy what she does, that there must be some reason why she’s undergoing this kind of experience. But there was nothing: no messed-up childhood, no sense of pain or humiliation.’ Forced to conclude that the woman in question really does enjoy her work, Hill changes his view to imply that the pleasure gained cannot be truly beneficial: ‘When I hear a young woman talking about doing videos of fisting and asphyxiation, I have to wonder what it’s doing to her – even if she says that she’s having fun.’. (shrink)

Moral entrepreneurship is the fine art of recycling evil into good by taking advantage of situations given or constructed as crises. It should be seen as the ultimate generalisation of the entrepreneurial spirit, whose peculiar excesses have always sat uneasily with homo oeconomicus as the constrained utility maximiser, an image that itself has come to be universalised. A task of this essay is to reconcile the two images in terms of what by the end I call ‘superutilitarianism’, which (...) draws on the lore of both superheroes and utilitarianism. After briefly surveying the careers of three exemplars of the moral entrepreneur (Robert McNamara, George Soros and Jeffrey Sachs), I explore the motives of moral entrepreneurs in terms of their standing debt to society for having already caused unnecessary harm but which also now equips him with the skill set needed to do significant good. Such a mindset involves imagining oneself a vehicle of divine will, which would be a scary proposition had it not been long presumed by Christians touched by Calvin. In conclusion, I argue that moral entrepreneurship looks most palatable – and perhaps even attractive – if the world is ‘reversible’, in the sense that every crisis, however clumsily handled by the moral entrepreneur, causes people to distinguish more clearly the necessary from contingent features of their existence. This leads them to reconceptualise past damages as new opportunities to assert what really matters; hence, a ‘superutilitarian’ ethic that treats all suffering as less cost than investment in a greater sense of the good. (shrink)

Science has made a mighty advance since it originated in ancient Greece more than 2500 years ago. Yet we still live in Plato's cave today; we think everything around us moves continuously, but continuous motion is merely a shadow of real motion. This book will lead you to walk out the cave along a logical and comprehensible road. After passing Zeno's arrow, Newton's inertia, Einstein's light, and Schrodinger's cat, you will reach the real world, where every thing in (...) the universe, whether it is an atom or a ball or even a star, ceaselessly jumps in a random and discontinuous way. In a famous metaphor, God does play dice with the universe. Discovering motion is not continuous but discontinuous and random is like finding the Earth is not at rest but moving. The new discovery may finally solve Zeno's paradoxes and the quantum puzzle, and it will lead to a profound shift in our world view. (shrink)

We develop and knit together several theodicies in order to find a more complete picture of why certain forms of animal suffering might be permitted by a perfect being. We focus on an especially potent form of the problem of evil, which arises from considering why a perfectly good, wise, and powerful God might use evolutionary mechanisms that predictably result in so much animal suffering and loss of life. There are many existing theodicies on the market, and although (...) they offer helpful resources, we combine and further develop several proposals to produce a composite theodicy that avoids certain shortcomings of the individual theodicies. An important element of our project is locating a role for randomness in cosmic and biological evolution. In particular, we show how randomness might enhance or enable certain goods, including everlasting goods, at the risk of temporary evils. (shrink)

The article addresses the question when the advocacy of forgiveness in the wake of political mass violence can be harmful and immoral. It engages with this question primarily by probing the value of different pictures of forgiveness, most importantly Rembrandt’s painting Return of the Prodigal Son and a photograph from post-genocide Rwanda. The critical examination of the value of particular pictures in the advocacy of forgiveness also involves attention to particularly problematic ‘pictures’ (in the sense of notions, imaginaries, representations) of (...) the unforgiving victim, of the choices available to societies responding to a violent past, and of unconditional forgiving. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

Scientists are portrayed as champions of objectivity and truth, and artists as champions of subjectivity and creative expression. Through analysis of modern art, John C. Gilmour shows how misleading is this separation of the world into objective and subjective spheres. This false dichotomy depends upon a dated philosophy of mind. The issues posed are developed from the ideas of Nietzche, Heidegger, Merleau-Ponty, Gadamer, Ricoeur, Wittgenstein, Rorty, Dewey, and Whitehead. Picturing the World requires us to reconceive the role of the artist (...) in the creative process and the role of the arts in general. (shrink)

The ?pictures of collections? genre was a special type of cabinet painting, and was invented, refined and popularized within the artistic community of early seventeenth?century Antwerp. Depicting a sumptuous array of luxury goods, natural curiosities, connoisseurs and nobles in elegant interiors, the paintings that make up this genre were purposefully seductive, designed to parade the consummate skill of the Southern Netherlands? finest artists at a time when the market for works of art was growing and highly competitive. Yet there is (...) a heavy lacing of symbolism and allegory apparent in many of the images, and they were also intended to speak to the intellectual preoccupations of the age, from the cultivation of personal virtue to the honing of the critical faculties necessary for philosophy. The genre is explored by tracing stages in its evolution in the seventeenth century, and four types of collection making up the genre are distinguished. Finally, the historiography of the genre is investigated. (shrink)

Most studies of No-Excuses charter schools are distributive in nature. They answer a question of distributive justice: do these schools adequately close the academic achievement gap that exists in America between white and Black or Hispanic students? When discussion of No-Excuses schools is limited to their distributive worth, critics of No-Excuses schools are trapped. Are they really against high academic achievement, supporters of No-Excuses schools might say. This analysis seeks to escape this trap by proposing and doing an analysis of (...) No-Excuses schools using relational justice. A turn to relational justice recognizes other educational goods schools might deliver to their students. By focusing on relational justice, the author moves the debate over No-Excuses schools into a register in which both their supporters and their opponents can work toward common aims. The author uses Anthony Laden’s relational justice to analyze No-Excuses discourse and practice and then offers recommendations to both No-Excuses schools and education theorists. (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...) as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

ABSTRACT:Are face-to-face perception and picture perception different perceptual phenomena? The question is controversial. On the one hand, philosophers have offered several solid arguments showing that, despite some resemblances, they are quite different perceptual phenomena and that pictures are special objects of perception. On the other hand, neuroscientists routinely use pictures in experimental settings as substitutes for normal objects, and this practice is successful in explaining how the human visual system works. But this seems to imply that face-to-face perception and picture (...) perception are very similar, if not actually the same. How can we decide between these two opposite intuitions? Here I offer a regimentation of the notion of picture perception that can reconcile these two apparently conflicting ideas about pictures. It follows that philosophers and neuroscientists can maintain their respective stances without any theoretical conflict. (shrink)

To think of being inclines metaxological philosophy to ponder the goodness of being. In his chapter, Cyril O’Regan engages the various notes on evil throughout metaxological philosophy. His argument is that Desmond’s view of evil comes close to Ricoeur in The Symbolism of Evil, where symbols of evil give philosophy to think about the excessive nature of evil.

It is often thought that religious experiences provide support for the cumulative case for the existence of the God of classical monotheism. In this paper, I formulate an Evil-god challenge that invites classical monotheists to explain why, based on evidence from religious experience, the belief in an omnipotent, omniscient, omnibenevolent god is significantly more reasonable than the belief in an omnipotent, omniscient, evil god. I demonstrate that religious experiences substantiate the existence of Evil-god more so than they (...) do the existence of Good-god, and, consequently, that the traditional argument from religious experience fails: it should not be included in the cumulative case for the existence of Good-god. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift. – Albert Einstein -/- In my philosophical discussions with elementary school children, I use questions not just to uncover hidden assumptions the children may have, but to lead them to a place of aporia – puzzlement, a place of “not-knowing.” If some children assume that to be brave is to be fearless, (...) I not only ask why they assume this, but go on to ask how it is that we can be called brave, if we’re not even afraid? What’s there to be brave about? With this question, I try to bring the children to a place of “aporia,” a place of puzzlement. Aporia empowers thinking. -/- Philosophy is the pursuit of clear thinking; it is also the pursuit of wisdom, a deeper truth (see quote). -/- Wonder captivates us and connects us to the world around us. In “doing” philosophy with children, this sense of wonder is expanded upon. In their book, Journey of the Universe Swimme and Tucker state, “For or a young mammal, behavior is open-ended in a way that is rarer in adults… In a word, what often occupies their consciousness is play…. they enter into many kinds of relationships out of sheer curiosity.” -/- In doing philosophy with children, we play with ideas. Shobhan Lyons states in her article, “What makes a philosopher?”, in Philosophy Now, “Linking philosophy and truth is a common approach; but I believe that philosophy is less a search for truth and more an engagement with possibilities; …” For example, whereas fear may be a good thing in some instances, it may not be in others. Lying may be necessary in some instances and a good thing (although, it doesn’t imply that lying in itself is a good thing), and in other cases it may be harmful and hurtful. So how do you decide? This is where navigational skills come into play. What may work in some instances may in fact be the entirely wrong thing to do in other cases. So how can you tell? This is where you need to learn how to respond to complex situations. -/- I conclude with examples of aporia questions for 8 picture book stories. “Dragons and Giants,” in Frog and Toad Together, by Arnold Lobel: -/- The question is, are Frog and Toad brave? Children often conclude that to be brave you cannot be afraid. Since Frog and Toad are afraid, they cannot be brave. -/- An aporia question is, whether you can be brave without being afraid? If you are not in the least afraid, what makes you brave? Another aporia question is, whether Frog and Toad would be foolish rather than brave if they were not to jump out of the way of the snake, the avalanche or the hawk. A third aporia question has to do with the question how we know we are foolish or brave when dealing with that which is dangerous. -/- . (shrink)

The leading models of disability struggle to fully encompass all aspects of “disability.” This difficulty arises, the author argues, because the models fundamentally misunderstand the nature of disability. Current theoretical approaches to disability can be understood as “nounal,” in that they understand disability as a thing that is caused or embodied. In contrast, this paper presents an adverbial perspective on disability, which shows that disability is experienced as a personally irremediable impediment to daily-living tasks or goals-like-ours. The picture theory of (...) disability technically constitutes a species of relational approach because its analysis references the interplay between an individual and their environment; it differs from other relational accounts, however, by interpreting disability as a certain kind of negative experience—rather than a function of that relationship. This purely descriptive theory makes no normative claims about disability and operates as both a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. When disability is reframed in this way, the theory offers a particularist perspective which shows if, when, where, and how disability is experienced. (shrink)

Iris Murdoch has long been known as one of the most deeply insightful and morally passionate novelists of our time. This attention has often eclipsed Murdoch's sophisticated and influential work as a philosopher, which has had a wide-ranging impact on thinkers in moral philosophy as well as religious ethics and political theory. Yet it has never been the subject of a book-length study in its own right. Picturing the Human seeks to fill this gap. In this groundbreaking book, author Maria (...) Antonaccio presents the first systematic and comprehensive treatment of Murdoch's moral philosophy. Unlike literary critical studies of her novels, it offers a general philosophical framework for assessing Murdoch's thought as a whole. Antonaccio also suggests a new interpretive method for reading Murdoch's philosophy and outlines the significance of her thought in the context of current debates in ethics. This vital study will appeal to those interested in moral philosophy, religious ethics, and literary criticism, and grants those who have long loved Murdoch's novels a closer look at her remarkable philosophy. (shrink)

Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.