Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or (...) in any other way relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art. (shrink)

A debate between two aestheticians concerning the relative influence of Scottish and German philosophers on the contemporary discipline. -/- .

In this paper I attempt to discover the object of Aristotle’s God’s νόησις in Metαphysics Λ.9. In Section I, I catalogue existing interpretations and mention the two key concepts of (i) God’s substancehood and (ii) his metaphysical simplicity. In Section II, I explore the first two aporiae of Λ.9 – namely (1) what God’s οὐσία is and (2) what God intelligizes. In Section III, I show how Aristotle solves these aporiae by contending that God’s οὐσία is actually intelligizing, and being (...) determined to do so by himself, and that the object of his νόησις is himself, such that he intelligizes his own οὐσία, and I explain what this means. In Section IV, I present the second pair of aporiae in Λ.9 and show how, by solving these, Aristotle clarifies the position arrived at in Section III. Lastly, in Section V, I present the final aporia and its solution, and conclude that Aristotle’s God is a radically-unified Narcissus-God who intelligizes his own οὐσία. (shrink)

Stillbirths are largely excluded from international measures of mortality and morbidity. Zeshan Qureshi and colleagues argue that stillbirth should be higher on the global health agenda.

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...) of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and disregard for (...) the particularity of works in, especially, literary theory. This broader context also includes renewed debates running within philosophical aesthetics about non-perceptual aesthetic properties and the aesthetic experience of conceptual artworks, and about beauty in art, considerations that have engaged two philosophers normally identified by their commitment to art theoretical and historical (and by extension, non-aesthetic) accounts of artistic making and viewing, namely Noël Carroll and Arthur Danto. So Carroll acknowledges that what's at stake is an aesthetic theory of art that is potentially 'back in business', while Danto's 'surprising' theoretic re-engagement with the concept of beauty has been noted by Diarmuid Costello. (shrink)

In this paper, I present two puzzles arising from J.M. Coetzee’s novel Elizabeth Costello, a fiction which is closely connected to analytic philosophy.

With his contribution on "The Natural Law in the American Tradition," Judge Diarmuid O'Scannlain has begun the indispensable task of laying the groundwork for sound jurisprudential reasoning in the natural law tradition. It is on the basis of this groundwork that we can begin to appreciate what natural law reasoning might mean, and what it does not mean, for contemporary American legal thinking. More specifically, it is on the basis of this groundwork that one can begin to articulate what (...) might be called a "third way" of jurisprudential reasoning. This "third way" would steer clear of two opposed and equally problematic jurisprudential views; that is, it would steer clear of what we might call "standard legal positivism" (on the one hand), and (on the other hand) what Judge O'Scannlain calls the "aggressive" natural law jurisprudence of some contemporary theorists. (shrink)

During the first quarter of the twentieth century, the French philosopher Henri Bergson became an international celebrity, profoundly influencing contemporary intellectual and artistic currents. While Bergsonism was fashionable, L. Susan Stebbing, Bertrand Russell, Moritz Schlick, and Rudolf Carnap launched different critical attacks against some of Bergson’s views. This book examines this series of critical responses to Bergsonism early in the history of analytic philosophy. Analytic criticisms of Bergsonism were influenced by William James, who saw Bergson as an ‘anti-intellectualist’ ally of (...) American Pragmatism, and Max Scheler, who saw him as a prophet of Lebensphilosophie. Some of the main analytic objections to Bergson are answered in the work of Karin Costelloe-Stephen. Analytic anti-Bergsonism accompanied the earlier refutations of idealism by Russell and Moore, and later influenced the Vienna Circle’s critique of metaphysics. It eventually contributed to the formation of the view that ‘analytic’ philosophy is divided from its ‘continental’ counterpart. (shrink)

This chapter examines Bertrand Russell’s various confrontations with Bergson’s work. Russell’s meetings with Bergson during 1911 would be followed in 1912 by the publication of Russell’s earliest polemical pieces. His 1912 review of Bergson’s Laughter ridicules the effort to develop a philosophical account of humour on the basis of some formula. In his 1912 “The Philosophy of Bergson”, Russell develops a series of objections against Bergson’s accounts of number, space, and duration. Bergson’s position is defended against Russell’s onslaught by H. (...) W. Carr (1913) and Karin Costelloe-Stephen (1914), though Russell only replies to the former. By contrast to Bergson’s silence in the face of Russell’s criticisms, Russell would continue responding to Bergson’s views in multiple works during the 1910s and 1920s. As this chapter shows, Russell not only develops further objections against specific theses upheld by Bergson, but also comments upon the political implications of Bergson’s philosophy, as well as its positioning within the history of French philosophy. (shrink)

J.M. Coetzee’s book, 'Elizabeth Costello' is one of the stranger works to appear in recent years. Yet if we focus our attention on the book’s two chapters dealing with animals, two preoccupations emerge. The first sees Coetzee use animals to evoke a particular conception of ethics, one similar to that of the philosopher Mary Midgley. Coetzee’s second theme connects animals to the phenomena of scapegoating, as it has been characterized by the philosophical anthropologist René Girard. While both themes involve (...) human interactions with animals, each transcends application to that particular issue and raises deeper questions, respectively concerning the foundations of morality and the therapeutic allure of political violence. Making explicit these two preoccupations enhances our understanding of Coetzee’s fiction, particularly Disgrace. However, when Coetzee’s two philosophical strands are analyzed in their own terms, the ethics of sympathy is shown to be a more coherent notion than the understanding of politics he takes over from Girard. (shrink)

In a recent online lecture, the acclaimed novelist Amit Chaudhuri responded to an accusation that has greeted his fiction since the start of his literary career: that since, as he openly admits, his novels contain people and events that are drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. In this paper, I discuss this charge by drawing on an account by the philosopher Stephen Mulhall of the work of another (...) distinguished novelist—J.M. Coetzee (more specifically, that work which features the character Elizabeth Costello). In particular, I want to establish the pertinence to Chaudhuri’s lecture of Mulhall’s analogy between aspects of that work and the work of the influential art historian and critic Michael Fried on the history of modernist painting. In so doing, I aim to show that the commitment to the projects of literary modernism and realism which Mulhall sees in Coetzee (and Costello), can also be seen in Chaudhuri’s understanding of the sense in which his novels both are, and are not, autobiographical. (shrink)

This thesis articulates the resonances between J. M. Coetzee's lifelong engagement with mathematics and his practice as a novelist, critic, and poet. Though the critical discourse surrounding Coetzee's literary work continues to flourish, and though the basic details of his background in mathematics are now widely acknowledged, his inheritance from that background has not yet been the subject of a comprehensive and mathematically- literate account. In providing such an account, I propose that these two strands of his intellectual trajectory not (...) only developed in parallel, but together engendered several of the characteristic qualities of his finest work. The structure of the thesis is essentially thematic, but is also broadly chronological. Chapter 1 focuses on Coetzee's poetry, charting the increasing involvement of mathematical concepts and methods in his practice and poetics between 1958 and 1979. Chapter 2 situates his master's thesis alongside archival materials from the early stages of his academic career, and thus traces the development of his philosophical interest in the migration of quantificatory metaphors into other conceptual domains. Concentrating on his doctoral thesis and a series of contemporaneous reviews, essays, and lecture notes, Chapter 3 details the calculated ambivalence with which he therein articulates, adopts, and challenges various statistical methods designed to disclose objective truth. Chapter 4 explores the thematisation of several mathematical concepts in Dusklands and In the Heart of the Country. Chapter Five considers Waiting for the Barbarians and Foe in the context provided by Coetzee's interest in the attempts of Isaac Newton to bridge the gap between natural language and the supposedly transparent language of mathematics. Finally, Chapter 6 locates in Elizabeth Costello and Diary of a Bad Year a cognitive approach to the use of mathematical concepts in ethics, politics, and aesthetics, and, by analogy, a central aspect of the challenge Coetzee's late fiction poses to the contemporary literary landscape. (shrink)