The Handbook of Antique Photographs is a short publication created by UCLan Associate Lecturer Brandon Reece Taylorian as part of his Dating Antique Photographs Project funded by UCLan's Institute of Creativity, Communities and Culture. The Handbook begins with a brief history of the origins of portrait photography followed by Taylorian's introduction of a step-by-step method for deconstructing and dating antique photographs ('antique' is defined in the Handbook as referring to any photograph that is (...) more than 100 hundred years old). The Handbook then goes on to provide details on each type of nineteenth-century photograph from the earliest type daguerreotypes to ambrotypes, tintypes, cartes de visite, cabinet cards and cartes postale with examples given for each. Each of the sections includes details on fashion and style of the period, the composition and settings for photographs and the items portrait subjects commonly held. The Handbook concludes by outlining the useful role that photographer logos and royal warrants can play in helping family historians to estimate when their nineteenth-century photographs were taken. (shrink)

In Paris in August 1839, the French government revealed a gift free of charge that would change the world forever. This gift was the daguerreotype process which had been invented by artist Louis Daguerre who used an iodine-sensitised silvered plate and mercury vapour to create some of the world’s earliest photographs and soon afterwards commercial photography was born. The trend of taking photographs spread quickly across the English Channel, but competition was fierce over the next several decades to (...) develop new methods of creating clearer images for less expense and with reduced exposure times. Victorian society embraced the technology of photography and much of the work conducted by family historians today revolves around identifying relatives in nineteenth and early twentieth century photographs. This article explores the history of portrait photography followed by an analysis of the ambrotype, tintype, cartes de visite and cartes postale found in the collection of the Moon/Prescott family from Lancashire which will provide a practical guide to dating and interpreting antique photographs. (shrink)

For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (...) (when digital photography is concerned), or she can mean to buy a right to use a photograph a precisely determined number of times in a number of brochures or on a website, and so on. When facing a new client, I always, without exception, face the problem of explaining to her what it is that she is actually buying – and it is not always clear that she is ever buying a photograph. As a metaphysician, I face a much more difficult challenge : find out to what ontological category photographs belong to. Are they concrete spatio-temporal entities like prints, are they universals since there can be many 'prints-instances' of a same photograph, are they sets or aggregates of prints, or something even different ? This is the task that I wish to undertake in this paper : examine all plausible metaphysical categories to which photographs could belong to, and see which one is the fittest. As we shall see, in this 'survival for the fittest' competition between traditional metaphysical categories, there will be no real winner : several categories will reveal themselves to be enlightening and useful when describing features of what photographs are, but none will prove to be entirely satisfactory. Photographs, it seems, are a sort of borderline entities that share some but not all aspects of several traditional metaphysical categories. Is it then justified to postulate a new ontological category to which photographs would properly belong ? On mainly methodological grounds, I shall argue that it is not, and I will suggest a different way out of this metaphysician's trouble by defending a nihilism about photographs. To put it bluntly, I will defend the claim that photographs do not exist – but I will also argue that this is not a very revisionary or anti-commonsensical claim. (shrink)

The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as (...) control and guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)

In a recent article, Dawn Wilson (2021) has argued against single-stage accounts of photography by arguing against the latent photographic images upon which those accounts depend. Concomitantly, she argues that the only viable account of photography is multi-stage. Unlike single-stage accounts, multi-stage accounts do not postulate the existence of photographic images of any kind prior to development. Rather, according to multi-stage accounts, photographs are produced from “photographic registers.” In this Discussion Piece, I defend single-stage accounts by arguing that Wilson’s (...) rejection of latent photographic images is premised on an implausible view of what a latent photographic image is. Given a reasonable interpretation, the latent images described in single-stage accounts just are the photographic registers described in multi-stage accounts. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

Scientists use visualisations of different kinds in a variety of ways in their scientific work. In the following article, we will take a closer look at the use of photographic pictures as scientific evidence. In accordance with Patrick Maynard’s thesis, photography will be regarded as a family of technologies serving different purposes in divergent contexts. One of these is its ability to detect certain phenomena. Nonetheless, with regard to the philosophical thesis of theory-ladenness of observation, we encounter certain reservations concerning (...) the status of photography and that of photographic pictures in the process of measurement in science. Accordingly, the aim of this paper is twofold: We will discuss suggested solutions both for the technological and for the psychological part of the problem of theory-ladenness appearing in the context of the use of photography in scientific observations. The essential proposal will be to follow Christian Suhm in his advice to make a distinction between theory-relativity and theory-ladenness. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. (...) The chapter argues that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

A common view in the philosophy of perception holds that states of seeing objects face to face have particular contents. When you see, say, a dog face to face, your visual state represents the particular dog that is in front of you. In this paper, I argue for a related claim about states of seeing objects in conventional photographs. When you see a dog in a photograph, for example, your visual state represents the particular dog that was in front (...) of the camera when the photograph was taken, that is, the photograph's depictum. The argument in this paper proceeds in two steps. In the first step, I discuss states of seeing objects face to face. I argue that such a state represents the particular object whose surface is responsible for the optical information that the visual system uses to construct the state's attributive representational content. In the second step, I apply the result of this discussion to states of seeing objects in photographs. I argue that a state of seeing an object in a photograph has a particular content that represents the object that was in front of the camera when the photograph was taken. (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in (...) response to users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. It (...) is a widely shared view that photographs are somehow special and that they fundamentally differ from hand-made pictures like paintings, both from a phenomenological point of view (in the way we experience them), and an epistemic point of view (since they are supposed to have a different – greater – epistemic value than paintings, giving us a privileged access to the world). In what follows, I shall reject almost the totality of these claims, and as a consequence there will remain little difference left between photographs and paintings. As we shall see, 'photographs are always partly paintings' – a claim that is true not only of retouched digital photographs but of all photographs, including traditional ones made using photosensitive film and development techniques. (shrink)

This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed in defending (...) a single-stage account of photography and I reconfirm that a multi-stage account is correct. (shrink)

The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not (...) a defining feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

In this article we introduce the concept of implied optical perspective in deep learning computer vision systems. Taking the BBC's experimental television programme “Made by Machine: When AI met the Archive” as a case study, we trace a conceptual and material link between the system used to automatically “watch” the television archive and a specific type of photographic practice. From a computational aesthetics perspective, we show how deep learning machine vision relies on photography, its technical regimes and epistemic advantages, and (...) we propose a novel way to identify the latent camera through which the BBC archive was seen by machine. (shrink)

The study of John Locke’s theological thought has yet to be combined with emerging historical research, pioneered by Jean-Louis Quantin, into the apologetic uses of Christian antiquity in the Restoration Church of England. This article will address this historiographical lacuna by making two related arguments. First, I will contend that Locke’s Paraphrase and Notes on the Epistles of St. Paul (1705–1707) marked a definitive shift in his critique of the appeal to Christian antiquity. Prior to 1700, Locke had largely contested (...) these references to the precedent of the early Christian Church by making a narrowly philosophical case against arguments from authority in general. However, the controversial reception of Locke’s theological writings in the 1690s, compelled him to develop historical and methodological arguments in the Paraphrase against the witness of Christian antiquity. Secondly, I will argue that Locke’s repudiation of the witness of Christian antiquity was the primary motivation for the diverse responses to the Paraphrase by early eighteenth-century Anglican writers, such as Robert Jenkin, Daniel Whitby, William Whiston, Winch Holdsworth and Catharine Cockburn. (shrink)

This paper seeks to provide a critical reading of the photographs of photographer Eduardo Masferré. The photos reviewed were part of the collection in E. Masferré, People of the Philippine Cordillera Photographs, 1934-1956 published in 1988. The book showcases the body of work of Masferré, a Spanish Filipino who is part of the Kankana-ey tribe through his mother. Considered as the father of Philippine photography, Masferré’s photos mirror his talent as well as reflect images, life, and work of (...) the Igorots in Cordillera. Masferré made it his task to take hundreds of photographs of the Cordillera to document its culture and tradition, display the remarkable knowledge of the Igorots in agriculture, showcase the unique character of the area, and illustrate the humanity of his people. Using the theory of Igorotism and theory of orientalism, Masferre´s photos were analyzed to determine the Igorotist and orientalist elements in Masferre’s photos and how these were formed in his art. This research studied the artist and his works while also seeking to understand the representation of the people of Cordillera in Masferré’s photographs. As Masferré’s body of work was explored, the researcher also looked into the life of Masferré, his influences, and the forces that shaped the Igorotist and orientalist elements in his masterpiece. The findings were interpreted to find out which of these forces prevailed – Masferré’s Igorotism ideology or the invisible orientalist influence. (shrink)

It has been claimed that photographs are transparent: we see through them; we literally see the photographed object through the photograph. Whether this claim is true depends on the way we conceive of seeing. There has been a controversy about whether localizing the perceived object in one's egocentric space is a necessary feature of seeing, as if it is, then photographs are unlikely to be transparent. I would like to propose and defend another, much weaker, necessary condition for (...) seeing: I argue that it is necessary for seeing that there is at least one way for me to move such that if I were to move this way, my view of the perceived object would change continuously as I move. Since this condition is not satisfied in the case of seeing objects in photographs, photographs are not transparent. (shrink)

We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight (...) what is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)

The present article aims to make good on Roland Barthe’s unfulfilled promise to provide an eidetic phenomenology for the photograph. Though the matter deserves consideration simply because no relevant account has yet been provided, the consequences of adumbrating eight eidetic features, we hope to show, bear directly on the phenomenology of time, the possibility of technological events, and the status of truth as what Heidegger called alētheia . Finally, and most importantly for the enterprise of phenomenological reflection, if we are (...) successful in this endeavor, we shall have established a new way to use eidetic phenomenologies: not for Husserl’s original aim of executing a rigorous science, but in a more Derridian spirit as a way to destabilize consensus. (shrink)

Twenty two years since the arrival of the first consumer digital camera (Tatsuno 36) Western culture is now characterised by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly online where (...) snapshot photography is being transformed from an individual to a communal activity. As the digital image proliferates online and becomes increasingly delivered via networks, numerous practices emerge surrounding the image’s transmission, encoding, ordering and reception. Informing these practices is a growing cultural shift towards a conception of the Internet as a platform for sharing and collaboration, supported by a mosaic of technologies termed Web 2.0. (shrink)

The Antiquities Act gives the president the power to designate “objects of historic or scientific interest” as “national monuments.” Presidents have used this power expansively, protecting massive tracts of federal land, often by claiming that very large things, such as the Grand Canyon or even entire landscapes, are “objects” in the requisite sense. There is legal debate over such uses of the Act, with critics arguing that they depart from the original intent and meaning of the legislation. What has been (...) less discussed, however, is whether the Act allows presidents to protect just the object of interest (whatever it turns out to be), or whether it allows presidents to protect a substantial amount of land around objects of interest. I draw from language in the Antiquities Act and existing case law to argue the latter. Due to the nature of “historic and scientific interest,” protecting an object with such interest often requires protecting certain features of the broader landscape. This holds regardless of what counts as an “object of interest.” As a result, it offers a way to argue on certain critics’ own grounds for more expansive designations: even granting a narrow, originalist conception of what qualifies as an “object,” large designations can be justified. (shrink)

This article looks at the role of Hellenistic thought in the historical narratives of Martin Heidegger and Hannah Arendt. To a certain extent, both see—with G. W. F. Hegel, J. G. Droysen, and Eduard Zeller—Hellenistic and Roman philosophy as a “modernity in antiquity,” but with important differences. Heidegger is generally dismissive of Hellenistic thought and comes to see it as a decisive historical turning point at which a protomodern element of subjective willing and domination is injected into the classical heritage (...) of Plato and Aristotle. Arendt, likewise, credits Stoic philosophy with the discovery of the will as an active faculty constituting a realm of subjective freedom and autonomy. While she considers Hellenistic philosophy as essentially apolitical and world-alienated—in contrast to the inherently political and practical Roman culture—it nonetheless holds for her an important but unexploited ethical and political potential. (shrink)

Kendall Walton argues that photographs, like mirrors and microscopes, meet sufficient conditions to be considered a kind of prosthesis for seeing. Well aware of the controversiality of this claim, he offers three criteria for perception met by photographs like other perceptual aids which makes them transparent –that is, we see through them.1(II) Jonathan Cohen and Aaron Meskin attempt to refute the transparency thesis by arguing that photographs cannot be genuine prostheses for seeing because they fail to meet (...) another necessary condition, namely that of egocentric spatial information (ESI). Only devices that belong to a process type that carries ESI are, in principle, genuine prostheses for seeing.2 (III) I will offer a two- part refutation of the proposed disqualification of photographs by 1) offering an example of a case where another instance of the process-type to which photographs belong carries ESI, establishing the reliability of the process type that allegedly precluded photographs from qualifying (IV) and 2) offering another example to illustrate how photographs can meet the ESI condition. (V) . (shrink)

The paper reviews the key tenets from Alexei Losev's magnum opus, A History of Ancient Aesthetics (1963-1994), an eight-volume long, original investigation of the Greco-Roman aesthetic culture, currently available only in Russian.

The most important problem of modern political philosophy is the loss of politics’ independence from other spheres of human activity. Since the beginning of the last century, philosophers have sought to justify the uniqueness of political being and to update the modern politicalphilosophical vocabulary by redefining the categories of antiquity (e.g. τὸ ᾰ̓γᾰθόν, φῐλία, παρρησία, etc.). The article is devoted to the approach to the rehabilitation of the political sphere based on the political-philosophical experience of the ancient Greeks. The theoretical (...) basis of the study is H. Arendt’s solution of the issue of depoliticization in the context of her reminiscences of the ancient heritage. The author turns to the notion of civic friendship, which largely determines Arendt’s contribution to the discussions on the rehabilitation of politics and acts as a practice endowing the community with political potential. On the basis of Arendt’s interpretation of the political philosophy of Socrates, Plato and Aristotle, the author justifies the appeal to this notion and shows the connection of civic friendship with other categories of ancient thought (truth, opinion, Maieutics). The analysis reveals that the requirement borrowed from Socrates to eliminate truth from the sphere of human affairs puts Arendt’s philosophy in opposition to the tradition of political thought, and the use of political-philosophical categories to describe the human lifeworld allows us to consider it as a version of the hermeneutics of the subject. The author concludes that the justification of politics by means of ancient thought has an original anthropological dimension. It consists in the recognition of the significance of political action for the orientation of man in the world and the assertion of his identity in the community. (shrink)

In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they (...) allow us, as some have suggested, to literally see the world through them ? Below, I will distinguish three kinds of realism about photographs, reject two, and partly endorse one. Indeed, the label "realism", when concerning photographs, can stand for a variety of very different claims. The first (and quite obvious) distinction to start with concerns what the realist thesis is about : the claim that somehow photographs are more accurate or more reliable or that they somehow depict the world better than hand-made pictures can be a claim about the photographic image itself or alternatively a claim about the way in which photographs are produced. In the former case, realism is a thesis about how photographs look and what sort of information they contain, while in the latter case realism is a claim about the process of production of photographs. It is the latter claim that is the most discussed in the philosophical literature about photography. I will concentrate on this type of realism, of which I shall examine two varieties. (shrink)

Purpose of the article is the reconstruction of ancient Greek and ancient Roman models of religiosity as anthropological invariants that determine the patterns of thinking and being of subsequent eras. Theoretical basis. The author applied the statement of Protagoras that "Man is the measure of all things" to the reconstruction of the religious sphere of culture. I proceed from the fact that each historical community has a set of inherent ideas about the principles of reality, which found unique "universes of (...) meanings". The historical space acquires anthropological properties that determine the specific mythology of the respective societies, as well as their spiritual successors. In particular, the religious models of ancient Greece and ancient Rome had a huge influence on formation of the worldview of the Christian civilization of the West. Originality. Multiplicity of the Olympic mythology contributed to the diversity of the expression forms of the Greek genius, which manifested itself in different fields of cultural activity, not reducible to political, philosophical or religious unity. The poverty of Roman mythology was compensated by a clear awareness of the unity of the community, which for all historical vicissitudes had always remained an unchanging ideal, and which was conceived as a reflection of the unity of the heavens. These two approaches to the divine predetermined the formation of two interacting, but conceptually different anthropological paradigms of Antiquity. Conclusions. Western concepts of divinity are invariants of two basic theological concepts – "Greek" and "Roman". These are ideal types, so these two tendencies can co-exist in one society. The Roman trend continued to be realized by the anti-Roman religion, which took Roman forms and Roman name. Iconoclasm was a Byzantine version of the Reformation, promoted by the Isaurian emperors and failed due to the strong Hellenistic naturalistic lobby. Modern "Romans" are trying to get rid of the last elements of religious naturalism, and modern "Greeks" are trying to preserve the Hellenic elements in Christianity. Patterns can be transformed, but the observational view will still be able to identify their lineage. The developed model allows a deeper understanding of the culture of both ancient societies, as well as the outlook of Western man. (shrink)

Platonism and Christian Thought in Late Antiquity examines the various ways in which Christian intellectuals engaged with Platonism both as a pagan competitor and as a source of philosophical material useful to the Christian faith. The chapters are united in their goal to explore transformations that took place in the reception and interaction process between Platonism and Christianity in this period. -/- The contributions in this volume explore the reception of Platonic material in Christian thought, showing that the transmission of (...) cultural content is always mediated, and ought to be studied as a transformative process by way of selection and interpretation. Some chapters also deal with various aspects of the wider discussion on how Platonic, and Hellenic, philosophy and early Christian thought related to each other, examining the differences and common ground between these traditions. -/- Platonism and Christian Thought in Late Antiquity offers an insightful and broad ranging study on the subject, which will be of interest to students of both philosophy and theology in the Late Antique period, as well as anyone working on the reception and history of Platonic thought, and the development of Christian thought. (shrink)

This chapter corrects for Susan Sontag's undeserved neglect by contemporary moral philosophers by bringing awareness to some of the unique metaethical insights born of her reflections on photographic representations of evil. I argue that Sontag's thought provides fertile ground for thinking about: (1) moral perception and its relation to moral knowledge; and (2) the epistemic and moral value of our emotional responses to the misery and suffering of others. I show that, contrary to standard moral perception theory (e.g. Blum 1994), (...) Sontag holds that we can have general moral perceptual knowledge. I then explore Sontag's idea that certain emotional responses, like sympathy and compassion, can sometimes be impertinent, in virtue of their having false or illusory content. I explain why this is so, and show the epistemic and motivational problems it poses for moral sentimentalism. (shrink)

Peter Brown’s influential book "The World of Late Antiquity" has had a formidable impact on ancient historiography. Before it, historians who studied the period leading to the deposition of Romolus Agustulus—the last Roman emperor—in 476 AD considered themselves ‘classicists’ or ‘ancient historians’, while those who studied the subsequent period called themselves medievalists; therefore before Brown’s book the collapse of the Roman Empire remained the watershed date that brought upon the Middle Ages. It is not the task of this essay to (...) trace the history of this conception, but to examine the assertions, merits, and faults of Peter Brown’s book. Brown magnified, or more precisely, outright invented a new epoch: “[a number of elements] converged to produce that very distinctive period in European civilization—the Late Antique world”. (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

This article shows how the social sciences rejected hard determinism by the mid-twentieth century largely on the deontological basis that it is irreconcilable with social justice, yet this rejection came just before a burst of creative development in consequentialist theories of social justice that problematize a facile rejection of determinism on moral grounds, a development that has seldom been recognized in the social sciences. Thus the current social science view of determinism and social justice is antiquated, ignoring numerous common and (...) well-respected arguments within philosophy that hard determinism can be reconciled with a just society. We support this argument by briefly tracing the parallel development of stances on determinism in the social sciences and the deontological-consequentialist debate in philosophy. The article concludes with a brief consideration of deterministic consequentialist ethics, social justice, and the problems of egoism and altruism. (shrink)

ABSTRACT: This paper traces the earliest development of the most basic principle of deduction, i.e. modus ponens (or Law of Detachment). ‘Aristotelian logic’, as it was taught from late antiquity until the 20th century, commonly included a short presentation of the argument forms modus (ponendo) ponens, modus (tollendo) tollens, modus ponendo tollens, and modus tollendo ponens. In late antiquity, arguments of these forms were generally classified as ‘hypothetical syllogisms’. However, Aristotle did not discuss such arguments, nor did he call any (...) arguments ‘hypothetical syllogisms’. The Stoic indemonstrables resemble the modus ponens/tollens arguments. But the Stoics never called them ‘hypothetical syllogisms’; nor did they describe them as ponendo ponens, etc. The tradition of the four argument forms and the classification of the arguments as hypothetical syllogisms hence need some explaining. In this paper, I offer some explanations by tracing the development of certain elements of Aristotle’s logic via the early Peripatetics to the logic of later antiquity. I consider the questions: How did the four argument forms arise? Why were there four of them? Why were arguments of these forms called ‘hypothetical syllogisms’? On what grounds were they considered valid? I argue that such arguments were neither part of Aristotle’s dialectic, nor simply the result of an adoption of elements of Stoic logic, but the outcome of a long, gradual development that begins with Aristotle’s logic as preserved in his Topics and Prior Analytics; and that, as a result, we have a Peripatetic logic of hypothetical inferences which is a far cry both from Stoic logic and from classical propositional logic, but which sports a number of interesting characteristics, some of which bear a cunning resemblance to some 20th century theories. (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)

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took (...) place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. (shrink)

L’article vise à retracer les relations entre les pratiques de l’architecture et les pratiques de l’archéologie, en accordant une importance particulière au rôle joué par les antiquités grecques dans la formation intellectuelle des archéologues et architectes du xixe siècle, d’une part, et à la signification du voyage en Grèce, d’autre part. L’article vise à répondre à la question de la spécificité du voyage en Grèce et de sa relation avec l’idée du « Grand tour » et du « retour en (...) Arcadie » des architectes et peintres. En parallèle, l’article explore les modalités par lesquelles les architectes-pensionnaires de la Villa Médicis à Rome s’approprièrent les découvertes archéologiques concernant les antiquités grecques, et l’impact des échanges des architectes-pensionnaires de la Villa Médicis à Rome avec les membres de l’École française d’Athènes sur leurs vues restaurées de monuments antiques grecs. Une attention particulière est accordée à l’analyse de l’osmose entre architecture et archéologie. La seconde moitié du xixe siècle constitue un moment où les échanges et la collaboration entre archéologues et architectes acquièrent une place dominante, et Athènes est l’endroit par excellence où la rencontre entre ces deux domaines porte ses fruits. Durant toute cette période, les collaborations entre archéologues et architectes travaillant sur des monuments antiques, à Athènes ou ailleurs en Grèce, deviennent très importantes. Ces collaborations ont fourni les fondations pour des ouvrages d’une importance majeure pour leurs deux champs respectifs, mais aussi pour l’histoire de l’art en général. (shrink)

Many transhumanists see their respective movement as being rooted in ancient ethical thought. However, this alleged connection between the contemporary transhumanist doctrine and the ethical theory of antiquity has come under attack. In this paper, we defend this connection by pointing out a key similarity between the two intellectual traditions. Both traditions are committed to the “radical transformation thesis”: ancient ethical theory holds that we should assimilate ourselves to the gods as far as possible, and transhumanists hold that we should (...) enhance ourselves beyond the physical and intellectual parameters of being human so as to become posthuman. By considering the two views in tandem, we develop an account of the assimilation directive that is palatable to contemporary readers and provide a view of posthumanism worth wanting. (shrink)

The article discusses the corruption of the state administration and clergy as one of the factors of persistence of paganism in Later Roman Empire. The spread of the practice of bribing state officials and clergymen by pagans, coming from different social strata of the Late Roman Society is demonstrated by various examples. It is suggested that this phenomenon was a result of the spread of suffragium.

Two diametrically opposed assumptions have influenced interpretations of circumcision rituals in ancient Judaism: either women performed the operation on their infant sons because children at birth and during infancy remained under the purview of the mother; or, conversely, men—specifically a ritual agent known as the mohel—performed circumcisions, because only they were typically granted authority to carry out the ritual. This study reassesses the pertinent texts, including Exodus 4 and passages from the books of Maccabees and the Babylonian Talmud (b. Šabb. (...) 134a; b. Yebam. 64b; b. ʿAbod. Zar. 27a), to determine whether women in ancient Judaism may have circumcised their infant sons; and shows that an older, family-based ritual practice in which either mothers or fathers performed the operation was being replaced by late antiquity by a specialist-based ritual performed by mohels from outside the household. (shrink)

The intellectual history of evolutionary theory really does not begin in earnest until the late seventeenth/early eighteenth century. Prior to that, the idea that species might have evolved over time was not a serious possibility for most naturalists and philosophers. There is certainly no substantive debate in antiquity about evolution in the modern sense. There were really only two competing explanations for how living things came to have the parts they do: design or blind chance. Ancient Greek Atomism, for example, (...) taught that all composite bodies, including living things, are generated through the random collision of atoms as they rebel and move in the void. Plato and Aristotle both dismissed this possibility on the grounds that living things are too complex and too well-adapted to be products of chance. This eventually became the central premise in Galen’s own Argument from Design. That species forms might have gradually evolved over time by a process of natural selection was not seen as a plausible alternative. Of course, such a theory had been proposed by Empedocles in the fifth century BCE. But because his theory still relied heavily on chance, it was not taken seriously by any of the later ancient Greek or Roman thinkers. My aim in this paper is to investigate the reasons why evolutionary thinking failed to gain momentum in antiquity after its introduction by Empedocles. (shrink)

31 chapters covering the Old Academy to Late Antiquity. See attached TOC.

Cette thèse porte sur la question du fini et de l’infini dans la philosophie de Hegel. L’objectif est double. En premier lieu, elle vise à retracer l’influence exercée par la philosophie antique (principalement Platon et Aristote) et par la philosophie moderne (pour l’essentiel Kant et certains postkantiens) sur l’élaboration hégélienne des catégories de la finité et de l’infinité. En second lieu, elle étudie le développement systématique de la logique de l’infinité hégélienne à la lumière de cette influence. Il s’agit (...) d’étudier, à travers une approche historique et critique, comment Hegel résout l’opposition traditionnelle du fini et de l’infini par sa théorie des deux infinis. A l’aune des conceptions de l’infinité-finie (la mauvaise infinité) et de l’infinité véritablement infinie (la véritable infinité), Hegel montre que le processus de la détermination du fini est un processus d’idéalisation qui supprime la contradiction du fini et de l’infini. Ainsi, l’enquête sur des concepts de finité et d’infinité permet de découvrir que l’idéalité spéculative est pour Hegel une réponse non seulement au problème traditionnel de leur articulation, mais aussi, plus généralement, aux problèmes soulevés par la caractérisation des idéalismes antiques et modernes. (shrink)

Book Information Psyche And Soma: Physicians and Metaphysicians on the Mind-Body Problem from Antiquity to Enlightenment. Psyche And Soma: Physicians and Metaphysicians on the Mind-Body Problem from Antiquity to Enlightenment John P. Wright Paul Potter Oxford Clarendon Press 2000 xii + 298, Hardback £45.00 Edited by John P. Wright; Paul Potter . Clarendon Press. Oxford. Pp. xii + 298,. Hardback:£45.00.

Review of THEO C. MEYERING, Historical Roots of Cognitive Science : The Rise of a Cognitive Theory of Perception from Antiquity to the Nineteenth Century. Boston: Kluwer, xix + 250 pp. $69.00. Examines the author's interpretation of Aristotelian theories of perceptual cognition, early modern theories, and Helmholtz's theory.

The emphasis in contemporary democratic theory and in the history of political thought on the ‘natural rights’ theory of popular sovereignty of Locke, precursors of which are found in the work of Hugo Grotius and others, obscures an important relationship between constitutional self-government and nationalism. Through an examination of the early political writings of Grotius, especially his Antiquity of the Batavian Republic, this essay shows how a national consciousness forged out of memories of native traditions of self-government, and stories of (...) heroic ancestors who successfully defended those traditions against usurpers and tyrants, gives concrete substance to otherwise inchoate theories of constitutional self-government. (shrink)

Plato's Tim. 90b1-c6 describes a pathway to the soul's salvation via the study of the heavens. This paper poses three questions about this theme in Platonism: 1. The epistemological question: How is the paradigmatic function of the visible heavenly bodies to be reconciled with various Platonic misgivings about the faculty of perception? 2. The metaphysical question: How can »assimilation« to the motions of bodies in the realm of Becoming provide for the salvation of souls when souls are »higher«- a mid-point (...) between Being and Becoming? 3. The psychological question: What can it mean for an incorporeal soul to utilise the motions of a body for an ethical and cognitive paradigm? And provides an account of how Proclus and some of his fellow Neoplatonists answered these questions. (shrink)

ABSTRACT: This paper discusses ancient versions of paradoxes today classified as paradoxes of presupposition and how their ancient solutions compare with contemporary ones. Sections 1-4 air ancient evidence for the Fallacy of Complex Question and suggested solutions, introduce the Horn Paradox, consider its authorship and contemporary solutions. Section 5 reconstructs the Stoic solution, suggesting the Stoics produced a Russellian-type solution based on a hidden scope ambiguity of negation. The difference to Russell's explanation of definite descriptions is that in the Horn (...) Paradox the Stoics uncovered a hidden conjunction rather than a hidden existential sentence. Sections 6 and 7 investigate hidden ambiguities in 'to have' and 'to lose' (including inalienable and alienable possession) and ambiguities of quantification based on substitution of indefinite plural expressions for indefinite or anaphoric pronouns, and Stoic awareness of these. Section 8 considers metaphorical readings and allusions that add further spice to the paradox. (shrink)