Some objects we value because they afford a felt connection with people, events, or places connected with their past. Visiting Canterbury cathedral, you encounter the place where, in 1170, Archbishop Thomas Becket was murdered by four knights of Henry II. Knowing that you are standing in the very place where Becket’s blood was spilled gives the past event a sense of tangible reality. One feels ‘in touch with’ the past; history seems to ‘come alive’. In this paper, I propose an (...) explanation for the phenomenology of such experiences in terms of an imaginative activity that represents what an object is historically connected with as part of the object in the present. One imagines of the site of Becket’s murder Becket being murdered. According to my account, objects that embody their histories are representations in Kendall Walton’s sense: they have the function of serving as props in games of make-believe. (shrink)

Kendall Walton argues that photographs are transparent; we literally see the things depicted in them, not just the depictions. This intriguing claim has endured numerous criticisms from those I call the ‘egocentrists’, according to whom seeing—literal seeing—requires the conveyance of egocentric information; to count as seeing something, a visual experience of that thing must impart some information, however spare, about its position relative to the viewer. Since photographs fail to convey such information, the egocentrists claim, Walton’s transparency thesis fails. This (...) paper considers several ways this egocentric condition on seeing has been developed and shows that none of them is persuasive. Seeing, I argue, does not require the conveyance of egocentric information. As such, and barring other problems, Walton’s transparency thesis stands. The paper closes with a speculative discussion of the kinds of empirical and action-guiding considerations that motivate egocentrism. (shrink)

According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...) CTP with Fred Dretske’s distinction between triggering and structuring causes, thereby overcoming the Problem of the Missing Agent. Second, I argue that CTP so amended in fact illuminates two aesthetic interests that we may take in photographs, focussing on photographic portraiture and street photography. Third, I show how reflection on the aesthetics of photography serves to support aesthetic anti-empiricism: the view that the aesthetic value of artworks consists, at least in part, in achievement rather than sensory pleasure. (shrink)

I explore some of the reasons why, under specific circumstances, it may be rational to make-believe or imagine certain religious beliefs. Adopting a jargon familiar to certain contemporary philosophers, my main concern here is to assess what reasons can be given for adopting a fictionalist stance towards some religious beliefs. My understanding of fictionalism does not involve solely a propositional attitude but a broader stance, which may include certain acts of pretence. I also argue that a plausible reason to be (...) fictionalist about a specific set of religious beliefs and practices has to do with the value of some artistic creations; namely, those that require the adoption of a religious point of view for their understanding. (shrink)

The Politics of Military Force uses discourse theory to examine the dynamics of discursive change that made participation in military operations possible against the background of German antimilitarist culture. Once considered a strict taboo, so-called out-of-area operations have now become widely considered by German policymakers to be without alternative. The book argues that an understanding of how certain policies are made possible (in this case, military operations abroad and force transformation), one needs to focus on processes of discursive change that (...) result in different policy options appearing rational, appropriate, feasible, or even self-evident. Drawing on Essex School discourse theory, the book develops a theoretical framework to understand how discursive change works, and elaborates on how discursive change makes once unthinkable policy options not only acceptable but even without alternative. Based on a detailed discourse analysis of more than 25 years of German parliamentary debates, The Politics of Military Force provides an explanation for: (1) the emergence of a new hegemonic discourse in German security policy after the end of the Cold War (discursive change), (2) the rearticulation of German antimilitarism in the process (ideational change/norm erosion) and (3) the resulting making-possible of military operations and force transformation (policy change). In doing so, the book also demonstrates the added value of a poststructuralist approach compared to the naive realism and linear conceptions of norm change so prominent in the study of German foreign policy and International Relations more generally. (shrink)

Theoria, EarlyView. The account of pictorial representation introduced in an earlier paper of mine is extended to photography and sculpture, and the beginnings of an extension to film is sketched.

There is a sustained phenomenological tradition of describing the character of photographic pictorial experience to consist in part of a feeling of contact with the subject of the photograph. Philosophers disagree, however, about the exact cause of the ‘contact phenomenon’ and whether there is a difference in the phenomenal character between the pictorial experiences of photographs and handmade pictures so that, if a viewer mistakes the type that a token image belongs to, their sense of contact can alter. I argue (...) that the contact phenomenon is contingent upon, and triggered by, the viewer’s perceptual experience of the image, which may be subject to change depending upon how a viewer attends to an image. I develop a hybrid account to resolve how the perceptual and cognitive aspects of a viewer’s experience interact and produce the complex phenomenology, including conflicting mental states, that a viewer can undergo during the described experiences. (shrink)

A review of Lingis, A.. Wonders Seen in Forsaken Places: On photography and the photographs of Mark Coehn. Chester Perkowski.