Different researchers from psychology and neuroscience state that navigation involves the manipulation of cognitive maps and graphs. In this paper, I will argue that navigating – specifically, journey planning – can be conceived as a process of practical reasoning. First, I will argue that journey planning constitutes a case of means-end reasoning involving inferences with cartographic representations. Then, I will argue that the output of journey planning functions as an instrumental belief in means-end reasoning. More specifically, journey planning can deliver (...) an instrumental rule that plays a normative role in spatial cognition. This approach motivates a pluralist conception of practical reasoning, stating that inferences might run through different representational formats and processes. (shrink)

Ce livre traite de l'image, mais aussi, plus generalement, de la copie, du double, de la representation, du calque, du sosie... La philosophie, a juste titre, a mis en garde contres ces si dangereux reflets. Ne doit-on pas preferer ce qui est a ce qui l'imite ou le mime? Mefions-nous des leurres! Cependant, on est revenu sur cette seculaire et injuste condamnation. La technologie moderne a peu a peu sauve celle qu'on avait trop inferiorisee et eloignee. Et quelle victoire! (...) L'image numerique, donc celle de synthese, l'arrache a une servitude que les philosophes classiques et meme plus modernes avaient scellee. L'electro-optique, la tomodensitometrie (scannographie), l'holographie, entre autres, multiplient les prouesses liberatrices. Dans le passe, la photographie, voire la radiographie avaient deja ebranle les anciennes positions. La guerre commencait. L'imagerie deferle donc, ainsi que l'industrie noire des contrefacons, des plagiats, des pseudo-repliques, du pastiche. Les trucages et la fraude. Mais ou situer aujourd'hui le vrai et le faux? Comment distinguer le modele et son equivalent? Les vieilles frontieres, comme on le montrera, s'estompent. Quel branle-bas et quelle fete aussi! On a voulu prendre acte de cette nouveaute. Hatons-nous, malgre le danger de nous y perdre, d'engager la philosophie que nous croyons reticente dans ce tourbillon. (shrink)

Thoughtful Images: Philosophy Illustrated is the first systematic investigation of how artists throughout the ages have illustrated philosophical texts, ideas, concepts, and theories. The book begins by developing a theory of visual illustrations of philosophical texts and undermining what the author calls "the denigration of illustration." The book then takes a more historical approach, beginning in Ancient Greece and Rome and proceeding through Medieval illuminations and printed broadsides to the frontispieces of philosophical texts. Throughout, attention is paid to how (...) technological developments enable different means for illustrating philosophy. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that motion is (...) really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy (...) of “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein. (shrink)

Cet ouvrage a pour objectif d'interroger en profondeur la manière avec laquelle, historiquement, les philosophes ont « pratiqué l'image dans le concept ». Les auteurs s'interrogent sur le recours à la visualité et à la métaphore dans l'élaboration des schèmes philosophiques à travers l'histoire de la philosophie et les rapports que cette dernière entend tisser avec l'histoire du monde. On tâche de cerner les raisons que les philosophes ont pu avoir de mobiliser ou au contraire de rejeter cet opérateur (...) conceptuel, d'assumer sa performativité ou bien de déplorer son caractère résiduel et résistant à toute systématisation de la rationalité. L'ouvrage cherche ainsi à dégager quelques figures centrales du nouage que les philosophes ne cessent d'opérer au sein du chiasme reliant la construction philosophique de l'image et la constitution de la pensée par l'image. Platon, saint Augustin, Descartes, Spinoza, Kant, Fichte, Schelling, Nietzsche, Bergson, Bachelard, Wittgenstein, Fink, Sartre, Merleau-Ponty, Castoriadis, Simondon et Deleuze sont les auteurs privilégiés dans cet ensemble. (shrink)

Ricoeur’s philosophical project can be broadly termed as a philosophical anthropology. Within this context, a main role is given to the issue of imagination through the resources of phenomenology, hermeneutics, and reflexive philosophy. The issue of picture, however, remains quite unknown and has not been much questioned; it might even be undermined by being reduced to the context of reproductive imagination as opposed to that of productive imagination within Ricoeur’s anthropology, and due to the emphasis on the linguistic relationship (...) to sense or meaning. Yet, instead of opposing the plane of picture to the plane of sense or meaning, an articulated connection between those two planes should be sought. The issue of symbolism opened by Ricoeur in his Philosophie de la volonté provides the starting point for our investigation. From that early hermeneutics on to La mémoire, l’histoire, l’oubli, via De l’interprétation. Essai sur Freud, La Métaphore vive, and Temps et récit, one could also consider that picture makes us think. But the issue of symbolism cannot be distinguished from that of imagination. One also has to link two paths of Ricoeur’s philosophy through the issue of symbolism, one that is orientated in the path of hermeneutics – the progression to the standpoint set by Du texte à l’action –, another that links the project of a philosophical anthropology to the fields of art and aesthetics. The research is thus structured around four parts. A first part is focused on the articulated connection between Ricoeur’s philosophy of imagination and philosophical aesthetics by addressing the hermeneutical prospect as the condition for the effectiveness of this connection. Extending this hermeneutical stance, a second part seeks to establish a bond between Ricoeur’s notion of a critical hermeneutics and the issue of picture. A third part, concurrent with the context of a critical hermeneutics, aims to consider imagination as mediating the plane of art and the plane of experience by referring to Ricoeur’s reading of analytic philosophy and, more specifically, analytic philosophy of art. Relying on the previous parts, a fourth part finally addresses the field of film, articulating ontological, narrative, and social layers to a philosophical hermeneutics. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

This is the first book to explore the epistemology and ethics of advanced imaging tests, in order to improve the critical understanding of the nature of knowledge they provide and the practical consequences of their utilization in healthcare. Advanced medical imaging tests, such as PET and MRI, have gained center stage in medical research and in patients’ care. They also increasingly raise questions that pertain to philosophy: What is required to be an expert in reading images? How are standards (...) for interpretation to be fixed? Is there a problem of overutilization of such tests? How should uncertainty be communicated to patients? How to cope with incidental findings? This book is of interest and importance to scholars of philosophy of medicine at all levels, from undergraduates to researchers, to medical researchers and practitioners (radiologists and nuclear physicians) interested in a critical appraisal of the methodology of their discipline and in the ethical principles and consequences of their work. -/- . (shrink)

The philosophical analysis of chemistry has advanced at such a pace during the last dozen years that the existence of philosophy of chemistry as an autonomous discipline cannot be doubted any more. The present paper will attempt to analyse the experience of philosophy of chemistry at the, so to say, meta-level. Philosophers of chemistry have especially stressed that all sciences need not be similar to physics. They have tried to argue for chemistry as its own type of science (...) and for a pluralistic understanding of science in general. However, when stressing the specific character of chemistry, philosophers do not always analyse the question ‘What is science?’ theoretically. It is obvious that a ‘monistic’ understanding of science should not be based simply on physics as the epitome of science, regarding it as a historical accident that physics has obtained this status. The author’s point is that the philosophical and methodological image of science should not be chosen arbitrarily; instead, it should be theoretically elaborated as an idealization (theoretical model) substantiated on the historical practice of science. It is argued that although physics has, in a sense, justifiably obtained the status of a paradigm of science, chemistry, which is not simply a physical science, but a discipline with a dual character, is also relevant for elaborating a theoretical model of science. The theoretical model of science is a good tool for examining various issues in philosophy of chemistry as well as in philosophy of science or science studies generally. (shrink)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge with the main (...) drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).

2) Philosophy in an important sense has no special subject-matter which stands to it as other subject-matters stand to other special disciplines…. What is characteristic of philosophy is not a special subject-matter, but the aim of knowing one’s way around with respect to the subject-matters of all the special disciplines. [370] [BB: It is not clear how this sits with the distinction between being a researcher (in a special discipline) and being an intellectual (caring about how it all (...) fits together). For, surely, not all intellectuals are philosophers, nor vice versa. One possibility is that he thinks that our research specialty is being intellectuals. But this is not plausible: sociologists, historians, journalist-pundits, culture critics, and so on have an equal claim to that distinction. WS might be thinking of philosophers as exclusively concerned with the cognitive enterprise, allowing intellectuals more generally to worry about, e.g., politics. But this is a pre- Hegelian way of thinking about things that is very implausible. I have my own take on this (cf. “Reason, Expression, and the Philosophic Enterprise”, Ch. 4 of RiP).]. (shrink)

The article offers a new approach for the exploration of media and television studies by extracting the television-philosophy implicit in Samuel Beckett’s television play … but the clouds …. The reading focuses on the immanent logic of the play seen as a televisual and an intermedial whole, instead of constructing it as an intertextual tapestry of references. The article argues against a popular interpretation of Beckett as the artist of failure. The reading of …but the clouds… as illustrating the (...) failure of memory and as a comment on the televisual loss of pro-filmic referentiality is subsequently also contested. On the contrary, it is argued that the play in a self-reflexive positive gesture explores both the ontology of the television-image and the ontology of memory as a process of conjuration by presenting a successful emergence of the televisual Image-in-itself. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have (...) most enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

... the first book to examine all the central issues surrounding the vexed relationship between the film-image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Žižei, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Pyschoanalytic and phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their (...) mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and re-visioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pre-texts for illustration? What would it take to imagine how film might itself theorise without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory?"--Publisher's description, p. [4] of cover. (shrink)

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, to be visible, and to continually (...) participate in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

This engaging collection of essays locates the debate between theism and naturalism in the broader context of reflection on imagination and aesthetics. The eleven original essays will be of interest to anyone who is fascinated by the power of imagination and the role of aesthetics in deciding between worldviews or philosophies of nature.

Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": anti-cognitivism (...) in Lars von trier's Antichrist -- Song of the earth: cinematic romanticism in Malick's The new world -- Coda: "the six most beautiful minutes in the history of cinema". (shrink)

I was sometimes pervaded by a sudden fear indoors during the daytime, and even more in the bright sun around midday, when I was left alone.

Technology is increasingly prominent as a topic of philosophical and normative reflection, as recent technological advancements in areas such as artificial intelligence and climate technologies have demonstrated their capability to disrupt our existing social, political, and moral practices. Recently, there is a call to diversify philosophy of technology, a field which has so far largely failed to engage with philosophical traditions outside the United States and Europe. While there are an increasing number of works that have attempted to answer (...) the call, they are primarily attempts to apply normative values and/or frameworks of specific philosophical and cultural traditions. These works have not delved extensively into the questions of technology in these philosophical and cultural traditions; in particular, they have yet to explore how these philosophical and cultural traditions conceive and construct human-technology relations, namely how humans and technology are—and should be—related. This essay distinguishes itself from other attempts to apply normative values and/or frameworks of specific philosophical and cultural traditions. Our aim is to offer a Confucian view of human-technology relations through reviving three Confucian ideas in early Confucianism, namely Creating Qi from the Images (zhi qi shang xiang 制器尚象), Evoking Moral Feelings through Things (yi gu xing wu 以故興物), and Embedding the Rites into Qi (cang li yu qi 藏禮於器). Constructing human-technology relations in the Confucian perspective will offer us an account of how Confucianism sees technology (co-)shaping our perception of and action in the world; it can also provide us with alternative ways to consider technology’s normative implications. (shrink)

In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics. -/- Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. (...) Video art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. -/- The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. (shrink)

The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art. Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses: the nature (...) of pictorial experience and "seeing in" recognition, resemblance, pretense, and structural theories of depiction images as aids to scientific discovery and understanding mental imagery and the nature of perceptual content photographs as visual prostheses. In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary. (shrink)

Most readers of Sellars' philosophy learn about a Manifest-Scientific Image distinction, and because apparently nothing significant hinges on what at first sight seems just a neologistic labeling of a familiar distinction, it is henceforth wrongly associated with a pre-systematic commonsense/scientific framework distinction. The Manifest Image is not identical to the commonsense framework; nor is the Scientific Image identical to the scientific framework. In this paper I will concern myself only with arguing that the Manifest Image (...) is not identical to the commonsense framework. (shrink)

While inheriting from Husserl’s phenomenology, Ricoeur aims at determining a philosophical anthropology. Imagination can then be thought as what makes possible a mediation dealing with the disproportion between sensibility and understanding; it can be seen as one of the guiding threads of Ricoeur’s anthropology before becoming a theme or a field of analysis. But if this philosophy of imagination encompasses the issue of image, to the point of making these two terms mostly interchangeable, it too includes a specific (...) philosophy of image, which must be recovered. In this perspective, one could follow a path going from the most general standpoint (the elaboration of a philosophy of image in the wake of a phenomenology of imagination) to the most particular one (the recognition of the image as a symbol, sign or trace) while determining the role of symbolic mediation related to image. (shrink)

Russo and Williamson (Int Stud Philos Sci 21(2):157–170, 2007) put forward the thesis that, at least in the health sciences, to establish the claim that C is a cause of E, one normally needs evidence of an underlying mechanism linking C and E as well as evidence that C makes a difference to E. This epistemological thesis poses a problem for most current analyses of causality which, in virtue of analysing causality in terms of just one of mechanisms or difference (...) making, cannot account for the need for the other kind of evidence. Weber (Int Stud Philos Sci 23(2):277–295, 2009) has suggested to the contrary that Giere’s probabilistic analysis of causality survives this criticism. In this paper, we look in detail at the case of medical imaging technology, which, we argue, supports the thesis of Russo and Williamson, and we respond to Weber’s suggestion, arguing that Giere’s account does not survive the criticism. (shrink)

«Jamais l'âme ne pense sans image». C'est dans le sillon de cette pensée d'Aristote que se situe le livre de Wunenburger. L'auteur souhaite ainsi réactiver un questionnement philosophique sur l'image à notre époque de la «fin de l'ère Gutenberg», et donc de la fin de l'ère de l'écrit. Wunenburger passe en revue quelques-unes des grandes conceptions de l'image, de la vision ontologique de Platon au nihilisme de notre époque, avant de marquer leur insuffisance pour ensuite tenter de (...) dégager un nouveau mode d'appréhension de l'image dans sa singularité à travers l'expérience — à résonance mystique — de son «ontophanie». L'étude de l'image devient ainsi le prétexte à une réflexion plus vaste sur l'ontologie et ses possibilités à notre époque. (shrink)

How does the complex structure of the image today connect to perception, what does this visual culture offer and what is left to the perciever? As we find ourselves in a culture of digital media, wherein Design, Cinema and New Media intersect, this book zooms in on the imagees dynamic factors seen as a field of work in which the creation of contents and forms is inscribed in a post-digital era.

Technology is increasingly prominent as a topic of philosophical and normative reflection, as recent technological advancements in areas such as artificial intelligence and climate technologies have demonstrated their capability to disrupt our existing social, political, and moral practices. Recently, there is a call to diversify philosophy of technology, a field which has so far largely failed to engage with philosophical traditions outside the United States and Europe. While there are an increasing number of works that have attempted to answer (...) the call, they are primarily attempts to apply normative values and/or frameworks of specific philosophical and cultural traditions. These works have not delved extensively into the questions of technology in these philosophical and cultural traditions; in particular, they have yet to explore how these philosophical and cultural traditions conceive and construct human-technology relations, namely how humans and technology are—and should be—related. This essay distinguishes itself from other attempts to apply normative values and/or frameworks of specific philosophical and cultural traditions. Our aim is to offer a Confucian view of human-technology relations through reviving three Confucian ideas in early Confucianism, namely Creating _Qi_ from the Images (_zhi qi shang xiang_ 制器尚象), Evoking Moral Feelings through Things (_yi gu xing wu_ 以故興物), and Embedding the Rites into _Qi_ (_cang li yu qi_ 藏禮於器). Constructing human-technology relations in the Confucian perspective will offer us an account of how Confucianism sees technology (co-)shaping our perception of and action in the world; it can also provide us with alternative ways to consider technology’s normative implications. (shrink)

The study presents the Russian historical-philosophical process in the context of the discovery of a new object, themes, personae, set of reactions and formation of a product for the intellectual community. The author's reliance on philosophical empirical material and appropriate hermeneutics in its processing allows the author to highlight those factors that influenced individual and collective reception. The author sees as a convenient case study the “discovery” by the Russian philosophical community of the early 20th century of both American (...) class='Hi'>philosophy in general and C.S. Peirce in particular. Since the beginning of the 19th century, Russian thinkers have turned their attention to American philosophy in all the diversity of its manifestations. Russian intellectuals paid special attention to American pragmatism and everything associated with it. In Russia, in addition to translations, numerous reviews of foreign publications on this topic are appearing. Of particular interest to us in the Russian “collective reflection” of American ideas is the system of preferences for ideas, texts, events, and names. The point is that what might have been a priority for a European thinker, for a Russian one turned out to be on the “periphery” of his consciousness, as well as vice versa. While James appeared among the priority figures for Russian thinkers, Peirce was in his “shadow”. Using rich empirical material, the author shows all the stages of Peirce’s image formation in the Russian intellectual community. The research shows that “image” of Peirce, which represents not so much the thinker himself, but characterizes the intellectual community that turned to him. The results of the study may be useful both for contemporary foreign and Russian interpreters of Peirce and for historians of philosophy who are rethinking the past and forming in the present new objects of reception and reflection. (shrink)

(1997). Philosophie au masculin? Georg Simmel et les images de la virilité à l'aube de l'ère nazie. The European Legacy: Vol. 2, No. 6, pp. 1011-1030.

The article is devoted to philosophical anthropology in the works of Russian religious thinkers of the 20 th century during their period of emigration. The author conducts a comparative analysis of the main approaches to understanding human nature and its image in the philosophy of Russia abroad. The article identifies a common direction in the development of anthropological concepts, despite individual differences in the views of Russian religious philosophers. The review and analysis begin with the personalism of N.A. (...) Berdyaev, who considered the problem of man to be central to philosophy. In his work The Fate of Man in the Modern World, Berdyaev offered a personal understanding of the new epoch of the 20 th century and proposed his own project of Christian anthropology. His intellectual ally, B.P. Vysheslavtsev, in the book The Ethics of Transfigured Eros, developed an interpretation of anthropological ideas based on an original understanding of the conscious and unconscious in man. Vysheslavtsev extended his ethical framework by introducing the concept of self-knowledge, which he considers the essence of a creative personality. The article further examines the book Reality and Man by S.L. Frank, which provides a comprehensive view of this philosopher’s anthropological beliefs. The foundation for Frank’s anthropology is the idea of personal being, which has been substantiated and developed in Christian thought. L.P. Karsavin developed anthropology from the perspective of the philosophy of all-unity, understanding individual personality as dependent on higher (“symphonic”) personalities. He fully incorporated the doctrine of personality into the metaphysics of all-unity, in which the Trinity serves as the main principle in the development of the entire created world. The last section of the article delves into an analysis of anthropological ideas as presented in the works of V.V. Zenkovsky. In his work Principles of Orthodox Anthropology, Zenkovsky built his argument on the image of God found in human consciousness and justified an anthropological ideal grounded in church doctrine and Orthodox theology. According to the author of the article, all the considered thinkers of Russia abroad recognized the significance of philosophical anthropology and the need for its further substantiation in the context of the Christian worldview. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic (...) and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

Images of the human is the collective effort of thirteen philosophy professors to address the questions human beings have been asking for centuries. The book presents selections from the major works of eighteen of the best-known philosophers from ancient to modern times. Each chapter focuses on the writings of a different philosopher - from Plato to Nietzsche, Augustine to Sartre - and includes an introduction and critical comentary.

The eastern Islamic concept of the imaginal realm, which explains how supra-sensory realities present themselves to imaginative perception, can enrich the imagination of film-philosophy. The imaginal realm, in Arabic ‘alam al-mithal, world of images, or ‘alam al-khayal, imaginative world, is part of a triadic ontology of sensible, imaginal, and intelligible realms. Diverging from roots shared with Western thought in the concept of the imaginative faculty, the Islamic imaginal realm is supra-individual and more real than matter. The imaginal realm is (...) a radically pro-image concept, affirming the importance of poetry, art, and images in motion. As developed by the Persian philosopher Sadr al-Dîn Muhammad al-Shîrâzî, known as Mullâ Sadrâ (1571–1640), the imaginal realm flows and intensifies, in a process philosophy we may fruitfully compare with Spinoza, Leibniz, and Whitehead. I sketch the genealogy of the imaginal realm and compare it to contemporary Western film-philosophy. I suggest how this transcendental concept can be made immanent. Finally, I draw from contemporary Muslim thinkers, such as Mohammed Arkoun, who ground a visionary collective politics in the imaginal realm. My central example, the documentary The Lebanese Rocket Society (2012) by Joana Hadjithomas and Khalil Joriege, exemplifies film's imaginal powers. (shrink)

The article analyzes the role of the dragon culture for the preservation of national unity and spiritual strength of the Chinese people. The author raises the question of the reasons why the dragon culture remains in demand in the modern rational world, in the age of science and technology development. The answer to this question is the thesis about the uniqueness of Chinese culture, which lies in the philosophy of symbiosis, when the mythological culture of the dragon and scientific (...) rationalism coexist and successfully develop. The dragon is depicted as a powerful being with infinite strength and courage, acting as a talisman, a symbol of protecting people from disasters. Therefore, the dragon culture reflects the veneration of strength, courage, and confidence in Chinese traditional values. The dragon is often seen as a symbol of harmony in Chinese traditional culture, embodying the idea of the unity of heaven and man. The article uses general scientific and special research methods, including document analysis, historical research, classification, comparative research method and semiotic analysis. The novelty of the research lies in the analysis of the reception of the image of the dragon in Chinese culture in the aspect of the philosophy of symbiosis. The author's special contribution to the research of the topic is to analyze the status, role and evolution of dragon culture in Chinese traditional culture from antiquity to the present day, as well as to identify the modern significance and role of dragon culture in modern society. The main conclusion of the study is that the image of the dragon provides a symbiotic relationship between the scientific, rational thinking of modern man and the mythological archetypes preserved in the collective consciousness. Dragon culture reflects the importance of traditional cultural values, national spirit and national identity in China. (shrink)

This article explores the work of Didi-Huberman as both an “art historian” and a “philosopher of art.” In particular, Schwarte examines the political turn that Didi-Huberman’s recent works have taken, for example in relation to the ethics of “looking” developed in Images in Spite of All, and to the political philosophy expounded in works such as Peuples exposés, peuples figurants and in the Soulèvements exhibition. Schwarte questions why Didi-Huberman, instead of delivering a more systematic political philosophy, prefers to (...) analyse specific cases. Moving beyond these, Schwarte seeks in Didi-Huberman’s work possible criteria for distinguishing between emancipatory uprisings of the people, on the one hand, and what might be categorized as reactionary or even fascist uprisings, on the other. (shrink)

Reflection names the central activity of Western philosophical practice; the mirror and its attendant metaphors of reflection are omnipresent in the self-image of Western philosophy and in metaphilosophical reflection on reflection. But the physical experiences of being reflected by glass mirrors have been inadequately theorized contributors to those metaphors, and this has implications not only for the self-image and the self of philosophy but also for metaphilosophical practice. This article begins to rethink the metaphor of reflection (...) anew. Paying attention to the history of the glass mirror in Europe reveals and challenges the modern emergence of clear ontological distinctions between disembodied subjects and the objects of their knowledge, and suggests a compelling terrain of metaphilosophical analysis. On the reading offered by the article, the inherent complexity of the relationship between selves and their mirror images, a complexity mediated by social location, historical situation, and particular projects, points to significant spaces of unknowing, of indeterminacy, and of ontological ambiguity. (shrink)

This article consists of three parts: the first part presents a synthetic outline of intellectual tendencies in post-Renaissance thought (hermeticism, alchemy, kabbalistics), which generated the iconic turn (emblematics, iconology). Its essence boils down to the integral relationship of the motto (lemma), the engraving (imago), and the poetic text (subscription). The second part is a more detailed analysis of one of the illustrations contained in the first volume of the German edition of Jacob Böhme’s works from 1682 (Amsterdam). The epoch, aesthetic (...) tastes prevailing at that time and the Theosophical content of the work allow us to read this illustration from the point of view of iconology. The third part is devoted to two issues. First, one of the central themes in German idealism was the discussion around the notion of the absolute: whether the absolute can be grasped in concepts (Hegel) or in internal intuition (Schelling). Romanticism was dominated by a tendency to a subjective and speculative approach to the absolute. The philosophy and art of Romanticism was modeled on, among others, medieval German mysticism and Böhme’s theosophy, seeking in these sources the best representation of what is unrepresentable, i.e., the absolute. Secondly, philosophical and artistic Romanticism developed a new type of imagery–language images. The dilemma that resulted from the discussion in German idealism–the notion or inner vision, from the modern point of view, should be solved by a compromise: word and image. (shrink)

The swiftly growing field of neurobiological research utilizes highly advanced technologies (e.g., magnetic resonance imaging, electron microscopy) to mediate between investigators and the brains they investigate. Here, the author analyzes a device called the “slam freezer” that quick-freezes neurons to be studied under the microscope. Employing insights from Don Ihde’s philosophy of technology, work that carefully amalgamates continental philosophy with philosophy of science, the author draws out the practices of interpretation in slam-freezing research. This interdisciplinary approach to (...) understanding scientific methodology sets the stage for further philosophical investigation of research in neuroscience. (shrink)

Neo-Kantianism is traditionally seen as a philosophy that was formed to develop and actualise Kant’s philosophy and Kantian transcendental methodology. However, Kant was the determining, but by no means the only, influence on the emergence of the neo-Kantian tradition. Neo-Kantianism was strongly influenced by the entire German post-Kantian philosophy, especially by Fichte and Hegel, although neo-Kantians have repeatedly tried to dissociate themselves from the great idealists. In many ways neo-Kantianism was cultivated by the Fichtean reading of Kant, (...) which enabled succeeding philosophers, notably H.-G. Gadamer, to consider neo-Kantianism to be “hidden neo-Fichteanism”. The main goal of this study is a historical-philosophical reconstruction of the image of Fichtean philosophy formed within German neo-Kantianism. To achieve this aim I have analysed the key projects of the German neo-Kantians in which the influence of Fichte’s philosophy, in particular his interpretation of the Kantian doctrine of the primacy of practical reason, is most clearly manifested. I show that the theory of values of the Southwest neo-Kantians and the ethics of pure will of the Marburg neo-Kantians are associated with the Fichtean revision of Kant’s doctrine of the primacy of practical reason. The following, in my opinion, are the main features of the image of Fichte’s philosophy: it is close to neo-Kantians precisely because it strives to combine theoretical and practical reason; it is in ethics that Fiche’s ideas are most manifest in neo-Kantianism; neo-Kantian original theories contain the ideas of self-consciousness “in the spirit” of Fichte. The conclusion is drawn that the growth of the metaphysical component in neo-Kantian doctrines may be connected with the influence of Fichte’s philosophy. (shrink)