In a study that sweeps from Classical Antiquity to the seventeenth century, Robert D. Huerta explores the common intellectual threads that link the art of Johannes Vermeer to the philosophy of Plato.

Cet article s’intéresse aux similarités entre deux tableaux : la Jeune Fille à la perle de Johannes Vermeer, et le Portrait de Béatrice Cenci par Guido Reni, dit le Guide (selon l’attribution du XIX e siècle). L’expression du visage semble indéterminée, et c’est à ce titre que ces œuvres peintes ont provoqué l’imagination littéraire ; Russell Hoban et Tracy Chevalier se sont penchés sur le premier tableau et le mystère de son expression, P.B. Shelley et Hawthorne sur le deuxième. (...) Dans Le Faune de marbre, Hawthorne évoque le tableau du Guide pour écrire une théorie de l’art où la « suggestion » tient une part essentielle. Dans Les Cenci, Shelley met en scène Béatrice, et son visage devient l’objet de projections de la part de ses ennemis. Quel discours s’élabore lorsque le visage d’une femme devient signe ambivalent, écran où sont projetées l’innocence et la culpabilité, s’inscrivant contre la personne même et sa capacité à s’exprimer? (shrink)

Critics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of (...) Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house. (shrink)

Bu yazıda bir sanat yapıtının sahte olmasının ne anlama geldiği incelenmektedir. Bu amaçla iki tür sahtecilik türü olan yapıt kopyacılığı ve biçem kopyacılığı birbirinden ayırt edilmektedir. İlk tür kopyacılık ile ilgili temel tartışma bir yapıtın aslından ayırt edilemeyecek kadar iyi bir kopyası neden yine de sanatsal olarak aslından daha değersiz bulunur, sorusuyla ilgilidir. İkinci tür kopyacılıkta ise temel soru bir sanatçının biçemini taklit ederek "yeni" yapıtlar üretmenin sanatsal açıdan nasıl değerlendirilmesi gerektiğidir. Yazıda bu ikinci tür kopyacılık, Hollandalı ressam Van Meegeren'in (...) Vermeer'in biçemini taklit ederek yapıp Naziler'e sattığı tablolar üzerinden tartışılmaktadır. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Forgeries and Art Evaluation:An Argument for Dualism in AestheticsTomas Kulka (bio)If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine? 1It is a wonderful moment in the life of a lover of art when he finds himself suddenly confronted (...) with a hitherto unknown painting by a great master, untouched, on the original canvas, and without any restoration, just as it left the painter's studio. And what a picture! Neither the beautiful signature... nor the pointillé on the bread which Christ is blessing, is necessary to convince us that we have here—I am inclined to say—the masterpiece of Johannes Vermeer of Delft... quite different from all his other paintings and yet every inch a Vermeer. In no other picture by the great master of Delft do we find such sentiment, such a profound understanding of the Bible story—a sentiment so nobly human expressed through the medium of highest art.2The author of these lines is Professor Abraham Bredius, the nestor of Holland's art historians and the greatest authority on seventeenth-century Dutch painting. The source is The Burlington Magazine for Connoisseurs, the most prestigious periodical for the history of art of the period. The year is 1937. The painting, however, is not a masterpiece of Vermeer but a fake produced by the mediocre Dutch artist Han van Meegeren.The Problem of ForgeryMany art dealers have been financially ruined, and many art historians academically discredited, because of incorrect attribution. Apart from the practical problems that worry curators and art historians, there is also a theoretical problem, which has become a subject of heated discussions since the late 1960s. The dispute gained a momentum with the publication of Nelson Goodman's Languages of Art. In its third chapter titled "Art and Authenticity," [End Page 58] which put the problem of forgeries on the agenda of contemporary aesthetics, Goodman states that a "philosopher of art caught without an answer to [the] question... why there is any aesthetic difference between a deceptive forgery and an original work... is at least as badly off as a curator of paintings caught taking a Van Meegeren Vermeer for a Vermeer."3Although the literature on the problem of forgeries is extensive, the answers that have been put forward fall roughly into three categories: the formalist answer, which states that there is no aesthetic difference between an original painting and a deceptive forgery; the reductionist answer, which claims that there is such a difference and that it can be traced to the minute physical differences between originals and its copies; and the historicist answer, which also asserts that there must be an aesthetic difference but claims that it stems from the different histories of the two objects.The most prominent proponent of the formalist approach is Monroe C. Beardsley. His theory is based on the assumption that "two objects that do not differ in any observable qualities cannot differ in aesthetic value."4 Aesthetic formalism, as the name suggests, maintains that works of art should be judged according to their form. Only the visual features of the painted surface—the configuration of its lines and colors, composition, spatial relations, texture, design, etc., are relevant for its appreciation. The subject of our evaluation is the finished product, not the information pertaining to the history of its production. Who, when, and where painted the picture, just like the intentions of the painter, are irrelevant for the assessment of its aesthetic qualities. Only the "internal" properties, that is, the properties of the "work itself," count. The "external" properties, by which Beardsley means anything that "relates to something existing before the work itself, to the manner in which it was produced, or its connection to antecedent objects," have no bearing on aesthetic value. Hence the conclusion that if fakes resemble the original "in their internal characteristics, so that no one could tell them apart just by looking at them" there can be no aesthetic difference between them.5 Originality is thus excluded... (shrink)

Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. (...) Michaelangelo's David was attacked with a hammer in 1991. By contrast, the standard way of thinking about repeatable (multiple-instance) artworks such as novels, poems, plays, operas, films, symphonies is that they must be abstract (i.e., immaterial, causally inert, outside space-time): consider the current location of Melville's Moby Dick, the weight of Yeats' "Sailing to Byzantium", or how one might go about stealing Puccini's La Boheme or vandalizing Mozart's Piano Concerto No. 9. Although novels, poems, and symphonies may appear radically unlike stock abstract objects such as numbers, sets, and propositions, most philosophers of art think that for the basic intuitions, practices, and conventions surrounding such works to be preserved, repeatable artworks must be abstracta. -/- This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, epistemology, philosophy of science, and philosophy of mind and language. While the contributors chiefly focus on the relationship between philosophy of art and contemporary metaphysics with respect to the overlap issue of abstracta, they provide a methodological blueprint from which scholars working both within and beyond philosophy of art can begin building responsible, mutually informative, and productive relationships between their respective fields. (shrink)

Proven experience can be shared. Given this, we cannot assume that the character of proven experience is always manifest as a physical token in each individual sharing it. But the token might still exist somewhere. Perhaps that is a condition of the proven experience’s existence. Something similar could have been accepted as true of scientific knowledge, especially if those who argued that scientific claims were only shorthand for more complicated claims about observations had been right. But it seems that they (...) were not. Hence there might be an ontological difference explaining why there will always be a netto divergence between science and proven experience. (shrink)

The ongoing debate on the ethics of self-driving cars typically focuses on two approaches to answering such questions: moral philosophy and social science. I argue that these two approaches are both lacking. We should neither deduce answers from individual moral theories nor should we expect social science to give us complete answers. To supplement these approaches, we should turn to political philosophy. The issues we face are collective decisions that we make together rather than individual decisions we make in light (...) of what we each have reason to value. Political philosophy adds three basic concerns to our conceptual toolkit: reasonable pluralism, human agency, and legitimacy. These three concerns have so far been largely overlooked in the debate on the ethics of self-driving cars. (shrink)

Isaac Levi is more interested in inquiry and how it progresses than he is in metaphysics. Questions concerning the role of disposition predicates in inquiry are more central to him than those concerning the nature and reality of dispositions. It has not stopped him from giving me and others very useful metaphysical advice. Currently, where empirical metaphysics is in vogue, there is every reason to see whether the two forms of philosophical interest might interlock substantially. Levi has stimulating ideas indeed (...) on the two forms of philosophical interest, and has recently summarized them in the slogan: “The reality of dispositions is a work in progress”. We can learn much about what kinds of dispositions are acceptable from tracing and comparing the histories of successful and less successful disposition predicates in scientific inquiry. Levi explores one route along which dispositions become real. His idea is that the introduction of dispositions facilitates covering law explanation by increasing the number of laws. The successful disposition predicate eventually becomes integrated in scientific theory, much like an ordinary theoretical term, whereas the unsuccessful does not. My impression is that Levi thinks that this is the only way a disposition can become real. To evaluate this claim, an alternative course suggested by Jon Elster is introduced. I then try to bring out the differences between Levi's and Elster's views on dispositions, partly by suggesting that they resemble two aspects of full explanations discussed by Wesley Salmon. But more about that below. (shrink)

Die Forderung des Deutschen Konstruktivismus nach „Begründung der Wissenschaft“ ist weiten Kreisen geläufig; was mit dieser Forderung bezweckt, inwieweit sie gerechtfertigt und auf welche Weise sie gegebenenfalls zu erfüllen ist, scheint dagegen außerhalb des konstruktivistischen Lagers weniger klar. Im vorliegenden Beitrag soll versucht werden, unter weitgehendem Verzicht auf formale Details ein wesentliches Lehrstück des obigen Programms zu erläutern, nämlich die „Begründung von Logik“. Dazu möchte ich zunächst klären, was sich in diesem Zusammenhang unter „Begründung“ verstehen läßt. Ferner werde ich skizzieren, (...) wie Anfangsstücke der Logik gegenwärtig außerhalb des Konstruktivismus betrieben werden, und inwiefern es hierbei zu „Begründungsdefiziten“ kommen könnte. Schließlich soll ein Überblick gegeben werden, wie sich der Deutsche Konstruktivismus Lösungen der von ihm lokalisierten Probleme vorstellt. Abschließend wird angedeutet, wie analoge Lösungen im Rahmen eines klassischen Logikaufbaus aussehen könnten. (shrink)

This volume contains four theoretical and four empirical articles that aim at conceptual clarification and descriptive and causal exploration on data from 14 countries about historical and current tensions within and between religions, Christiantity and Islam, and human rights in various contexts.

This book highlights some of the conceptual problems that still need to be solved and points out a number of fresh philosophical ideas to explore.

This book is the first to trace the origins and significance of positivism on a global scale. Taking their cues from Auguste Comte and John Stuart Mill, positivists pioneered a universal, experience-based culture of scientific inquiry for studying nature and society—a new science that would enlighten all of humankind. Positivists envisaged one world united by science, but their efforts spawned many. Uncovering these worlds of positivism, the volume ranges from India, the Ottoman Empire, and the Iberian Peninsula to Central Europe, (...) Russia, and Brazil, examining positivism’s impact as one of the most far-reaching intellectual movements of the modern world. Positivists reinvented science, claiming it to be distinct from and superior to the humanities. They predicated political governance on their refashioned science of society, and as political activists, they sought and often failed to reconcile their universalism with the values of multiculturalism. Providing a genealogy of scientific governance that is sorely needed in an age of post-truth politics, this volume breaks new ground in the fields of intellectual and global history, the history of science, and philosophy. (shrink)

Did affluence lead to psychological changes such as reduced discounting, and did these changes facilitate the innovation associated with the Industrial Revolution? I argue that claims of this sort are best made when they can be supported by causal evidence and good psychological measurement. When we have neither identifying variation nor adequate measures, the toolbox of psychologists is not useful.

"Fritsche's book, which is closely researched, carefully argued, and philologically rigorous, will become an indispensable point of reference for further debates on Heidegger's ambiguous political and ethical legacy."—Richard Wolin, author of The Politics of Being "Unquestionably, Fritsche has a highly unusual command of the Heideggerian idiom, which he uses to very good effect."—Tom Rockmore, author of On Heidegger's Nazism and Philosophy.

During the last decades, social mechanisms have been broadly discussed in general sociology, but, in family sociology, they seem to be non-existent. Therefore, the first aim of this paper is to show that., although the term can hardly be found, prominent theoretical ideas use more or less explicitly mechanistic explanations. Focusing on the determinants of separation can show that all arguments connect (structural) input with (social) outcome and search for theoretical explanations in the sense of social mechanisms. We will demonstrate (...) how macro-structural traits are mechanistically connected with individual variables and how they lead to a stable or fragile partnership. As often mentioned, “mechanism-based storytelling” (Hedström/Ylikoski 2010, 64) should be accompanied by empirical research. Therefore, in a simple statistical model in the second part, we will show the results of our testing of some examples of well-known variables for the explanation of separations. It will show how correlations can be mechanistically explained and not simply statistically described. (shrink)