The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).

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)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge with the (...) main drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

This chapter considers how Liberal Naturalism interacts with the main problems and theories in the philosophy of perception. After briefly summarising the traditional philosophical problems of perception and outlining the standard philosophical theories of perceptual experience, it discusses whether a Liberal Naturalist outlook should incline one towards or away from any of these standard theories. Particular attention is paid to the work of John McDowell and Hilary Putnam, two of the most prominent Liberal Naturalists, whose work was also very (...) influential in the philosophy of perception. There is also a section focusing on colour, an especially important topic not only for debates about perceptual experience but also for debates concerning how our ‘manifest image’ of the natural world relates to our best theories in the physical sciences. (shrink)

Kant’s distinction between intuitions and concepts attracts perennial interpretive interest. To the extent that they discuss the imagination at all, most Kant scholars maintain that the imagination’s primary role is to generate intuitions. This dissertation argues that “image” (Bild, Einbildung) is an overlooked technical term in Kant’s work and that images—and not intuitions—are products of the imagination. The project explains how, for Kant, the imagination (as image-maker) and the senses (as intuition-maker) make distinct but essential contributions to cognition and (...) perception. I begin by showing that “image” is a terminologically marked notion in Kant, and that the imagination is responsible for generating images (chapter 1). I call these claims the Image Thesis. I then show that for Kant, intuitions are representations that depend only on the senses for their essential features (chapter 2). I call this the Strong Independence Thesis. -/- How should we understand Kant’s ubiquitous references to the imagination, then? I argue that we should understand the imagination’s activities as image-producing activities (chapter 3). I argue that images and intuitions are fundamentally distinct representations, which I label the Distinctness Thesis. Though intuitions and images are had by both rational and non-rational beings, the capacity for consciousness or apperception found in rational beings makes a difference in the structure of images but not the structure of intuitions (chapter 4). I call this the penetration view of the imagination. With this account of images in hand, I indicate why images are a necessary ingredient in theoretical cognition for Kant (chapter 5). I call this the Image-Centric Cognition Thesis. The result is a novel account of sensibility—the counterpart of the understanding—that recognizes Kant’s systematic discussion of mental imagery. (shrink)

This chapter examines two premises of cognitive-behavioral therapy (CBT) - that emotions are caused by beliefs and that those beliefs are represented in the mind as words or images. Being a philosophical examination, the chapter also seeks to demonstrate that these two premises essentially are philosophical premises. The chapter begins with a brief methodological suggestion of how to properly evaluate the theory of CBT. From there it works it way from examining the therapeutic practice of capturing the mental representations (...) that supposedly elicit emotional reactions to examining the assumption that emotions are caused by beliefs. The chapter ends by briefly pointing to some consequences of what has been said to the practice of CBT. (shrink)

In the Timaeus, Plato’s Timaeus offers an account of the sensible world in terms of “images” of forms. Often, images are taken to be particulars: either objects or particular property instances (tropes). Contrary to this trend, I argue that images are general characteristics which are immanent in the receptacle, or bundles of such characteristics. Thus, the entire sensible world can be analysed in terms of immanent general characteristics, the receptacle, and forms. Hence, for Timaeus, fundamentally, there are (...) no sensible particulars. I end by arguing that my interpretation is compatible with Timaeus’ construction of sensible entities from triangles. (shrink)

I examine the passages where Aristotle maintains that intellectual activity employs φαντάσματα (images) and argue that he requires awareness of the relevant images. This, together with Aristotle’s claims about the universality of understanding, gives us reason to reject the interpretation of Michael Wedin and Victor Caston, on which φαντάσματα serve as the material basis for thinking. I develop a new interpretation by unpacking the comparison Aristotle makes to the role of diagrams in doing geometry. In theoretical understanding of (...) mathematical and natural beings, we usually need to employ appropriate φαντάσματα in order to grasp explanatory connections. Aristotle does not, however, commit himself to thinking that images are required for exercising all theoretical understanding. Understanding immaterial things, in particular, may not involve employing phantasmata. Thus the connection that Aristotle makes between images and understanding does not rule out the possibility that human intellectual activity could occur apart from the body. (shrink)

Philosophy of science is expanding via the introduction of new digital data and tools for their analysis. The data comprise digitized published books and journal articles, as well as heretofore unpublished material such as images, archival text, notebooks, meeting notes, and programs. The growth in available data is matched by the extensive development of automated analysis tools. The variety of data sources and tools can be overwhelming. In this article, we survey the state of digital work in the (...) philosophy of science, showing what kinds of questions can be answered and how one can go about answering them. (shrink)

This special issue introduces the study of financial technologies and finance to the field of philosophy of technology, bringing together two different fields that have not traditionally been in dialogue. The included articles are: Digital Art as ‘Monetised Graphics’: Enforcing Intellectual Property on the Blockchain, by Martin Zeilinger; Fundamentals of Algorithmic Markets: Liquidity, Contingency, and the Incomputability of Exchange, by Laura Lotti; ‘Crises of Modernity’ Discourses and the Rise of Financial Technologies in a Contested Mechanized World, by Marinus Ossewaarde; (...) Two Technical Images: Blockchain and High-Frequency Trading, by Diego Viana; and The Blockchain as a Narrative Technology: Investigating the Social Ontology and Normative Configurations of Cryptocurrencies, by Wessel Reijers and Mark Coeckelbergh. (shrink)

Contents: Anna Lemańska, The Autonomous Philosophy of Nature ; Anna Latawiec, The Progress in the Philosophy of Nature ; Grzegorz Bugajak, Philosophy of Nature, Realism, and the Postulated Ontology of Scientific Theories ; Maria-Magdalena Weker, Multi-dimensional Image of the World ; Jarosław Kukowski, The Application of Principia Mathematica and Principia Metaphisica for Resolving the Incommensurate Paradigms. The Comparative Study in Philosophy of Physics and Philosophy of Nature ; Danuta Ługowska, The Dilemmas Concerning the Essence of (...) Life ; Adam Świeżyński, The Beginning of the Universe in the Concept of Creation and in Contemporary Cosmology. The Philosopher’s of Nature Considerations . (shrink)

The authors survey some debates about the nature and structure of physical theories and about the connections between our physical theories and naturalized metaphysics. The discussion is organized around an “ideal view” of physical theories and criticisms that can be raised against it. This view includes controversial commitments regarding the best analysis of physical modalities and intertheory relations. The authors consider the case in favor of taking laws as the primary modal notion, discussing objections related to alleged violations of the (...) laws, the apparent need to appeal to causality, and the status of probability. The “ideal view” includes a commitment that fundamental physical theories are explanatorily sufficient. The authors discuss several challenges to recovering the manifest image from fundamental physics, along with a distinct challenge to reductionism based on acknowledging the contributions of less fundamental theories in physical explanations. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that (...) have most enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Animal mind philosophy and the related philosophy of language are rich and developing fields of philosophy. Enriched with the language of comparative concepts, they can become the threshold of a cumulative, verifiable strictly scientific "philosophy of pure mind", asserting a fundamentally new view of the problem of society, man and his place among other beings. My understanding of the mind through the prism of nonverbal and verbal thinking allowed me to get an idea of three completely (...) different stages in the development of the mind – reason, mind and wisdom. I understand reason as thinking by classification concepts of natural language, mind – as thinking by concrete scientific comparative concepts verified with the help of the senses. Whereas wisdom, understood by me in the light of "pure reason", is connected with the generalization of many particular comparative concepts. At the same time, I proceed from the fact that we are all perceiving beings, and our brain, being formed in the light of the relations of similarity and difference, perceives (comprehends – grasps) the energy present in the environment (energy in general), and converts it into sensory data. Presented by the Aristotle-Rotenfeld philosophical Matrix, in the form of concrete universal concepts of different types, they expand its cognitive capabilities step by step. Thus, with the help of spatial representations and integral visual images – drawings used by me, I show how to make nonverbal rational thinking of humans and animals verbal, expressing it in comparative terms. (shrink)

If Australasian philosophers constitute the kind of group to which a collective identity or broadly shared self-image can plausibly be ascribed, the celebrated history of Australian materialism rightly lies close to its heart. Jack Smart’s chapter in this volume, along with an outstanding series of briefer essays in A Companion to Philosophy in Australia and New Zealand (Forrest 2010; Gold 2010; Koksvik 2010; Lycan 2010; Matthews 2010; Nagasawa 2010; Opie 2010; Stoljar 2010a), effectively describe the naturalistic realism of Australian (...) philosophy of mind. In occasional semi-serious psychogeographic speculation, this long-standing and strongly-felt intellectual attitude has been traced back to the influences of our light, land, or lifestyle (Devitt 1996, x; compare comments by Chalmers and O’Brien in Mitchell, 2006). Australasian work in philosophy of mind and cognition has become more diverse in the last 40 years, but is almost all still marked, in one way or another, by the history of these debates on materialism. (shrink)

In searching for the origins of current conceptions of science in the history of physics, one encounters a remarkable phenomenon. A typical view today is that theoretical knowledge-claims have only relativized validity. Historically, however, this thesis was supported by proponents of a conception of nature that today is far from typical, a mechanistic conception within which natural phenomena were to be explained by the action of mechanically moved matter. Two of these proponents, Hermann von Helmholtz and his pupil Heinrich Hertz, (...) contributed significantly to the modernization of the conception of science. Paradigmatic for their common contribution to this development is the way in which they employed the concept of image. By considering the origin and the different meanings of this concept we may trace a line of development which begins with Helmholtz's original claim that a universally and forever valid theory provides a unique representation of nature. It continues with the realization that the status of scientific knowledge is capable of revision; and it arrives at Hertz's admission that a variety of theories over a domain of objects is possible, at least at times. (shrink)

We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the framework of the (...) ontology of the process of the production of art, especially the views of Antonin Artaud, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre tends (...) to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied (...) as single entities in relationship with both a referent and the perceptual or interpretive abilities of an observer. On the other hand, thanks in particular to the iconographic tradition inaugurated by Aby Warburg, images have been analyzed in their multiplicity, in their mutual relationship, both synchronically and diachronically. (shrink)

Advanced medical imaging, such as CT, fMRI and PET, has undergone enormous progress in recent years, both in accuracy and utilization. Such techniques often bring with them an illusion of immediacy, the idea that the body and its diseases can be directly inspected. In this paper we target this illusion and address the issue of the reliability of advanced imaging tests as knowledge procedures, taking positron emission tomography in oncology as paradigmatic case study. After individuating a suitable notion of reliability, (...) we argue that PET is a highly theory-laden and non-immediate knowledge procedure, in spite of the photographic-like quality of the images it delivers; the diagnostic conclusions based on the interpretation of PET images are population-dependent; PET images require interpretation, which is inherently observer-dependent and therefore variable. We conclude with a three-step methodological proposal for enhancing the reliability of advanced medical imaging. (shrink)

The central aim of this thesis is to confront the world-view of positivistic materialism with its nihilistic implications and to develop an alternative world-view based on process philosophy, showing how in terms of this, science and ethics can be reconciled. The thesis begins with an account of the rise of positivism and materialism, or ‘scientism’, to its dominant position in the culture of Western civilization and shows what effect this has had on the image of man and consequently on (...) ethical views. After having shown the basic weaknesses of this world-view, the positivist account of science is criticised and an alternative epistemology is developed in which the aim of disciplined inquiry is seen to be understanding. It is argued on the basis of this epistemology that science and metaphysics are indissociable, and that the materialist conception of being is open to challenge from a different ontology. Having reviewed the various conceptions of being which have been developed in the past, a version of process philosophy is outlined and it is argued that this promises to be far more effective than materialism as a foundation for the natural sciences. In particular it is shown how in terms of process philosophy it is possible to conceive of living, sentient organisms as having emerged from inanimate being. This provides the basis for the development of a conception of humanity as an emergent form of life. The human order is then seen as a process of becoming within nature with its own unique dynamics, irreducible to any other processes, involving both intentional and unintentional processes. It is shown how on the basis of this conception of humanity it is possible to develop an ethical theory and a critical social science, and in this way, to transcend the disjunction between science and ethics. -/- . (shrink)

Formal systems are standardly envisaged in terms of a grammar specifying well-formed formulae together with a set of axioms and rules. Derivations are ordered lists of formulae each of which is either an axiom or is generated from earlier items on the list by means of the rules of the system; the theorems of a formal system are simply those formulae for which there are derivations. Here we outline a set of alternative and explicitly visual ways of envisaging and analyzing (...) at least simple formal systems using fractal patterns of infinite depth. Progressively deeper dimensions of such a fractal can be used to map increasingly complex wffs or increasingly complex 'value spaces', with tautologies, contradictions, and various forms of contingency coded in terms of color. This and related approaches, it turns out, offer not only visually immediate and geometrically intriguing representations of formal systems as a whole but also promising formal links (1) between standard systems and classical patterns in fractal geometry, (2) between quite different kinds of value spaces in classical and infinite-valued logics, and (3) between cellular automata and logic. It is hoped that pattern analysis of this kind may open possibilities for a geometrical approach to further questions within logic and metalogic. (shrink)

In this paper, I begin with an account of the initial distinction between likenesses and appearances, a distinction which may resemble the difference between sophists and philosophers. That distinction first arises immediately after the puzzling appearance of the noble sophist, who seems to occupy an odd space in between sophist and philosopher. In the second section, I look more closely at the noble sophist, and on what that figure might tell us about images and the use of images. (...) I also attempt to use the insights provided by the noble sophist in an investigation of the kind of images that Plato the author produces. This raises the question of the general notion of image as it appears in the Sophist, and especially of the dual nature of all images, which in turn invites reflection on certain features of the examination of being and non-being late in the dialogue. Finally, I return to the deception inherent in images, and I argue that this dialogue does not present the possibility of completely honest images. Nevertheless, I hope to show that some uses of deceptions and images are better than others. (shrink)

The present book is an in-depth study of Lukács’ musical aesthetics and, more specifically, of his essay on music from The Specificity of the Aesthetic (Die Eigenart des Ästhetischen, 1963). Lukács’ problematic in this essay revolves around a central issue in the history of Aesthetics: the problem of mimesis in music. Since the time of Plato and Aristotle music has been regarded as a mimesis (an imitation) of reality. However, this theory of music as mimesis presents major difficulties which have (...) long been the subject of philosophical thinking: how is it possible that an art so far removed from reality, an art that employs sounds (not images or concepts) be considered as an imitation of reality? This is the main question that concerns Lukács in this essay. The present book seeks, through the detailed examination of Lukács’ central argument, to demonstrate and clarify Lukács’ solution to this problem of musical mimesis and to highlight its significance for the contemporary debate on Aesthetics. (shrink)

Written in broad strokes, this paper attempts to draw form Krishnamurti’s life and teachings, a hermeneutics of the human soul’s quest-journey towards transcendent wholeness. It begins with an attempt to frame K’s “process” (the name given to the painful ordeals in his youth that many believe were the catalyst responsible for his metamorphosis) through a variety of disciplines and cultural perspectives, some of which underscore the impasse of scientific objectivity and the limits of phenomenalist categories in general. It then explores (...) the procedures and conceits of present technologies of self-transformation via pseudomeditative body work and suggests that this subject can only be confirmed by an experience so intimately and subversively (to its own object) subjective that it risks undermining its own legitimacy in the face of our body-phobic Cartesian cultural ethos that holds sacrosanct the mind-body split. -/- It then explores the deeper origins and history of this problem from the pre-Socratics to the misconceptions of modern mathematics about the proper place of metaphor and paradox and underscores how present day false consciousness fails to discriminate between a “noumenal” world and its conditioned “phenomenal” counterfeit copy. It ends with a brief meditation on K’s process. (shrink)

The overarching theme of Locke’s Image of the World, by Michael Jacovides, is that Locke’s belief in the best science of his day shapes his philosophy in important ways. Jacovides contends that “by understanding the scientific background to Locke’s thoughts, we can better understand his work” (1), including both his positions and his arguments for those positions. To a lesser extent, Jacovides’s book also treats Locke as a case study in thinking about how much scientific theory should influence (...) class='Hi'>philosophy. While much of the science Locke relies on is incomplete or problematic, and so leads him into errors, Jacovides is sympathetic to Locke’s approach of using the best scientific theories to help develop and justify his philosophical positions. Throughout the book Jacovides shows how science – Locke’s study of medicine, and later Boyle’s corpuscularianism, and then later Newton’s physics – influence Locke’s thinking on a variety of topics. The result is an impressive account of the history of science at a critical point in its development through the lens of one of the great philosophers of that time. (shrink)

Philosophers and intellectual historians generally recognize pragmatism as a philosophy of progress. For many commentators, pragmatism is tied to a notion of progress through its embrace of meliorism – a forward-looking philosophy that places hope in the future as a site of possibility and improvement. I complicate the progressive image of hope generally attributed to pragmatism by outlining an alternative account of meliorism in the work of William James. By focusing on the affectivity and temporality of James’s meliorism, (...) I argue that James offers a non-progressivist version of hope that is affectively tempered by melancholy and oriented temporally toward the present. (shrink)

Peace pedagogy and the Peace education are identified as relevant educational paradigm and set of educational projects aimed at solving problems of teaching non-violence and the capacity for peace in the context of the democratic movement for peace. There is a set of reasons to state that the education system of the world depends not only on technological trends and mastering the sum of strategies of war and peace but, first of all, on what extends the whole education is true (...) for its subjects and able to provide research on the ultimate question of social and personal life, including eternal mankind’s dream for peace. This paper describes methodological role for pedagogy of peace of geophilosophy as a concept to solve socio-economic conflicts in the dimensions of truth and earthly life in which modern geophilosophical research carried out to find a man’s place in the world and territory for him. (shrink)

Critical notice of Images of Science by P. M. Churchland and C. A. Hooker.

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of (...) the Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

Among worldviews, in addition to the options of materialist atheism, pantheism and personal theism, there exists a fourth, “local emergentism”. It holds that there are no gods, nor does the universe overall have divine aspects or any purpose. But locally, in our region of space and time, the properties of matter have given rise to entities which are completely different from matter in kind and to a degree god-like: consciousnesses with rational powers and intrinsic worth. The emergentist option is compared (...) with the standard alternatives and the arguments for and against it are laid out. It is argued that, among options in the philosophy of religion, it involves the minimal reworking of the manifest image of common sense. Hence it deserves a place at the table in arguments as to the overall nature of the universe. (shrink)

In this paper I argue that radiological attempts to elucidate the properties of self -- an endeavor currently popular in the social neurosciences -- are fraught with conceptual difficulties. I first discuss several philosophical criteria that increase the chances we are posing the “right” questions to nature. I then discuss whether these criteria are met when empirical efforts are directed at one of the central constructs in the social sciences – the human self. In particular, I consider whether recent attempts (...) to map the neural correlates of self and its assumed properties using brain scanning technology satisfy the conceptual conditions minimally required to ask well-formed, theoretically satisfying questions of nature. I conclude that much theoretical work remains to be done. (shrink)

Without doubt, there is a great diversity of scientific images both with regard to their appearances and their functions. Diagrams, photographs, drawings, etc. serve as evidence in publications, as eye-catchers in presentations, as surrogates for the research object in scientific reasoning. This fact has been highlighted by Stephen M. Downes who takes this diversity as a reason to argue against a unifying representation-based account of how visualisations play their epistemic role in science. In the following paper, I will suggest (...) an alternative explanation of the diversity of scientific images. This account refers to processes which are caused by the social setting of science. What exactly is meant by this, I will spell out with the aid of Ludwik Fleck’s theory of the social mechanisms of scientific communication. (shrink)

Contents: Danuta Ługowska, Incommensurability of Paradigms Exemplified by the Differences Between the Western and Eastern European Image of the Human Person ; Maria-Magdalena Weker, Light, Body and Soul – the Issues Fundamental for Theories of Vision. A Historical Survey ; Dariusz Kucharski, The Conception of Sensory Perception and Scientific Research. (The Theory of Sign within Philosophy of G. Berkeley and T. Reid) ; Grzegorz Bugajak, Causality and Determinism in Physics ; Anna Lemańska, Truth in Mathematics ; Anna Latawiec, Troubles (...) with the Philosophy of Medicine ; Adam Świeżyński, Values, Axiological Experience, and Scientific Research ; Grzegorz Bugajak, Fears of Science. Nature and Human Actions ; Adam Świeżyński, Some Remarks on the Human Search for Sense in the Context of Human Actions. (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)

In this paper I argue against readings of Hertz that overly assimilate him into the thought of late 20th century anti-realists and pluralists. Firstly, as is well-known, various images of the same objects are possible according to Hertz. However, I will argue that this envisaged pluralism concerns the situation before all the evidence is considered i. e. before we can decide whether the images are correct and appropriate. Hertz believes in final and decisive battles of the kind he (...) participated in while doing experiments in electrodynamics. Secondly, I will argue that the concept of representation is still quite appropriately applied to important aspects of images, namely when it comes to fundamental physical equations. In this context Hertz explicitly allows that “characteristics of our image, which claim to represent observable relations of things, do really and correctly correspond to them” (Hertz [1894] 1956, 9). A final consideration is Hertz’s consistent appeal to the concept of the hypothesis. I will argue that his use of the concept does not indicate that he contributed to an increasing hypothetization of science, if this trend is understood in a strong sense, i. e. as the belief that the correctness of scientific theories cannot be established for principled reasons. As mentioned, when it comes to experimental evidence Hertz believes in decisive battles. (shrink)

This article explores the metaphor of Science as provider of sharp images of our environment, using the epistemological framework of Objective Cognitive Constructivism. These sharp images are conveyed by precise scientific hypotheses that, in turn, are encoded by mathematical equations. Furthermore, this article describes how such knowledge is pro-duced by a cyclic and recursive development, perfection and reinforcement process, leading to the emergence of eigen-solutions characterized by the four essential properties of precision, stability, separability and composability. Finally, this (...) article discusses the role played by ontology and metaphysics in the scientific production process, and in which sense the resulting knowledge can be considered objective. (shrink)

The aim of the paper is to highlight a hidden reception of Ernst Cassirer’s works in the writings of Wilfrid Sellars. To set out such reception, I will begin with defining criteria that allow us to point out a possible influence from one thinker on another. In a second step, I will present several links between the set-out criteria and the constellation Sellars-Cassirer. Finally, the Cassirer Lectures Series at Yale, Sellars’ review of Language and Myth as well as Sellars’ lecture (...) Philosophy and the Scientific Image of Man will serve as at the basis for an analysis of historical and systematic connections between Cassirer and Sellars. The conclusion will show that we actually can speak of a hidden influence from Cassirer on Sellars’ thought and that philosophical desiderata remain in this context which are worth to explore even today. (shrink)

According to an influential philosophical view I call “the relational properties view”, “perspectival” properties, such as the elliptical appearance of a tilted coin, are relational properties of external objects. Philosophers have assessed this view on the basis of phenomenological, epistemological or other purely philosophical considerations. My aim in this paper is to examine whether it is possible to evaluate RPV empirically. In the first, negative part of the paper I consider and reject a certain tempting way of doing so. In (...) the second, positive part of the paper I suggest a novel way of evaluating RPV empirically, relying on the influential object files framework. (shrink)

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect (...) of ethics--'the difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (shrink)

In Philosophy and the Mirror of Nature (1979), Richard Rorty locates the perceived ills of modern philosophy in the "epistemological turn" of Descartes and Locke. This chapter argues that Rorty's accounts of Descartes' and Locke's philosophical work are seriously flawed. Rorty misunderstood the participation of early modern philosophers in the rise of modern science, and he misdescribed their examination of cognition as psychological rather than epistemological. His diagnostic efforts were thereby undermined, and he missed Descartes' original conception of (...) a general physics, and Locke's probabilist analysis of the grounds for rational belief. (shrink)

In their reviews of The Kuhnian Image of Science: Time for a Decisive Transformation? (2018), both Markus Arnold (2018) and Amanda Bryant (2018) complain that the contributors who criticize Kuhn’s theory of scientific change have misconstrued his philosophy of science and they praise those who seek to defend the Kuhnian image of science. In what follows, then, I would like to address their claims about misconstruing Kuhn’s theory of scientific change. But my focus here, as in the book, will (...) be the evidence (or lack thereof) for the Kuhnian image of science. I will begin with Arnold’s review and then move on to Bryant’s review. (shrink)

What do we mean when we describe the history of the Caribbean as traumatic? Is it possible to use the term ‘trauma’ here in a more technical sense, or should we give it the less strict connotation of an extreme form of an event in which the past no longer stays just in the past and the future never ceases to demand something from the present? In this paper I analyze the image of the abyss, used by Édouard Glissant to (...) evoke poetically one of the beginnings of the Caribbean, as leading to a paradox on the attitude toward history: Caribbean communities have been burdened with a non-history that feels, at the same time, like too much history. I show that this image resembles the paradoxical structure of trauma developed in the works of Cathy Caruth, according to whom trauma is a paradoxical structure of experience in which the subject (or a community) is painfully possessed by an image that they have barely perceived and that is so minimal that it cannot be controlled. However, I argue, there are limits to this resemblance. I focus on the question whether the (traumatic) paradox is escapable in this region of the world, that is, whether Caribbean communities can be de-traumatized, and what are the connections of this possibility with the question, central to Glissant, of decolonization. In order to answer these questions, I analyze a central feature of the Caribbean history according to Glissant, transversality, to show in what way the paradox of history can be loosened. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation (...) the common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Critical notice of a collection of responses to Bas van Fraassen's The Scientific Image followed by Van Fraasen's replies. Thanks to van Fraassen, empiricism in the philosophy of science has again become a force to reckon with, his brand of 'constructive empiricism' posing a serious challenge to the realist option. In Part I of the book, ten scientific realists of various persuasions defend the view that science provides us with information about the realities behind the appearances as well as (...) the appearances themselves while in Part II van Fraassen expounds the epistemology that informs The Scientific Image and explains his claim that the correct epistemic attitude towards theories about unobservable entities is one of 'acceptance as empirically adequate' rather than 'belief as true.'. (shrink)

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and of what (...) we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

To start with, we should say that the book is a thesis for obtaining a PhD in philosophy from Mohamed Al-Khamis University in Rabat, Morocco, Arab Cultural Center published in its first edition in 2015 with a number of 368 pages. The book deserves to be read, beginning with the title “The Image of Ibn Rushd in Contemporary Moroccan Thought”. It is an attractive title for two main reasons: Ibn Rushd is one of the most prominent symbols of intellectual (...) rationality in philosophical culture at the human and local levels.The other reason is that we, as a diverse group, need to rationalize Ibn Rushd's rationality because it represents the solutions to our troubled, lived reality. The book is divided into four parts and twelve chapters with entries for most of the chapters. It is a study in which the author presented the opinions of Moroccan researchers studies about Ibn Rushd. In my estimation that the researcher succeeded in his study and the book deserves reading . (shrink)