In his book “Seeing Dark Things” (2008), Roy Sorensen provides many wonderfully ingenious arguments for many surprising, counter-intuitive claims. One such claim in particular is that when we a silhouetted object – i.e. an opaque object lit entirely from behind – we literally see its back-side – i.e. we see the full expanse of the surface facing away from us that is blocking the incoming light. Sorensen himself admits that this seems a tough pill to swallow, later characterising it as (...) “the most controversial thesis of the book” (2011, p199). -/- I will argue against Sorensen’s controversial thesis and in favour of what seems to me to be a much more natural and commonsensical alternative: when we see a silhouetted object, what we see is its edge and only its edge – so we do not see its entire back-side. (shrink)

Victor Eremita proposes that the reader understand parts I and II of Either/Or as parties in a dialogue; most readers in fact view II as a devastating reply to I. I suggest that part I be read as a reaction or follow-up to Kierkegaard’s dissertation. Much of part I presents reflective characters who are aware of their freedom but reluctant or unable to adopt the ethical life. The modern Antigone and the Silhouettes are sisters of Alcibiades—failed students of Socrates. I (...) articulate and defend their modes of loving, which are significantly different from Don Giovanni’s and Johannes the Seducer’s purely aesthetic approaches to love. Such feminine love, I argue, dwells in the disputed territory between passion and action, substance and freedom, the aesthetic and the ethical. Antigone’s love is a passion she both suffers and tries to appropriate. The Silhouettes’ devotion to their beloved makes them dependent on him. I defend this dependence even though it is undoubtedly a form of despair. By appealing to Sartre’s account of love, I argue moreover that this love involves a recognition and appraisal of the beloved absent in the love exemplified by Fear and Trembling’s knight of infinite resignation. (shrink)

The dictionary tells you that a shadow is a dark area or volume caused by an opaque object blocking some light. The definition is correct, but we need to clarify a couple of its elements: darkness and blocking. The clarification leads to the view that to see a shadow is a degree of failing to see a surface. I will also argue that seeing a silhouette (i.e. a backlit object) is a particular way of failing to see an object. (...) Thus visual discriminability is not sufficient for seeing. Finally, I argue that comparative empirical research on shadows' contribution to amodal completion in apes and humans supports the view that humans, unlike apes, perceive shadows as shadows rather than as black objects, thus lending indirect support for my view that to see a shadow is a way and degree of failing to see a surface. (shrink)