Inspired by Helen Longino’s ‘critical contextual empiricism’, in this paper I argue that art arises from social epistemic procedures that encompass both aesthetic functions and institutional practices. Within these procedures, aesthetic functions are developed, validated, and enforced through institutional practices, rather than being solely tied to the artistic outcomes of those practices. I call this approach ‘critical contextual aestheticism’.

In this chapter, I argue that the films of Andrei Tarkovsky are particularly suitable for inducing feelings of the numinous. This suitability is a formal rather than semantic feature of his films, and is tied indelibly to what film scholars call ‘suture’. I with a summary of what film theorists mean by ‘suture’, before providing a principled defence of the Merleau-Pontian suture theory outlined by George Butte. Second, I will demonstrate that, in spite of the strength of Butte’s formulation, the (...) numinousness of Tarkovsky’s films pose an analytical challenge to his suture theory. Finally, I will then provide my own extension of Butte’s suture theory, arguing that, by virtue of the formal properties they possess, we encounter Tarkovsky’s films more like religious objects than ordinary films. The tenor of these encounters is why Tarkovsky’s films are appropriate loci for feelings of the numinous. (shrink)

This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...) by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology. (shrink)