Transparency and Photographic Contact

Kendall Walton famously argues that photographic images—in contrast with handmade images—are transparent; we see through them to the persons or objects that were in front of the camera at the moment of exposure. Walton also argues, separately, that our philosophical investigations in the representational arts generally should adopt the methodology of theory construction. This article brings together these two strands of Walton's thought by rendering his argument for photographic transparency in the form of a theory consisting of a perceptual natural kind and an underlying naturally dependent process, the former postulated in order to account for various photographic explananda. The surprising result is that Walton's theory, thus construed, yields at least one prediction that is in conflict with what we observe and that, because of this, he is forced to embellish his theory in ways that render it psychologically implausible and that raise the worry of ad hoc patching up.     

The Aesthetics of Mirror Reversal

Philosophical Studies -     

Illusion of Transparency

It's generally agreed that, for a certain a class of cases, a rational subject cannot be wrong in treating two elements of thought as co-referential. Even anti-individualists like Tyler Burge agree that empirical error is impossible in such cases. I argue that this immunity to empirical error is illusory and sketch a new anti-individualist approach to concepts that doesn't require such immunity.     

The Critical Aesthetics of Disney World

ABSTRACT An analysis of Disney World as an aesthetic environment provides important insights. I ts many distinct areas constitute a multiplicity of environments —futuristic, ethnic, fantasy, adventure. Each shapes time, space, and movement in distinctive ways, making Disney World a microcosm of America's cultural pluralism and at the same time the kitsch of postmodernism. Yet Disney World is more than an entertainment park but conceals disturbing meanings behind its glittering images. In numerous ways it both illustrates and epitomises kinds of thought and practice that characterise the industrial-commercial culture of our period. Disney World, in fact, openly but subtly purveys the culture of consumption. Everything is converted into matter for consumption: national and ethnic traditions, science, technology, education, the family, history. This is an environment in which nothing is as it appears to be. Spectacular in scale and brilliant in execution, Disney World is a 'masterpiece of falsification, a megamonument to the commodification of culture.' The aesthetic analysis of Disney's worlds, by showing how realities are created and subverted, confronts us with the pervasiveness of the normative and the inseparability of the moral and the aesthetic. The challenge of our time is to reform knowledge and value in a way that is pluralistic and open-ended, and yet provides the basis for both decision and action.     

On Virtual Transparency

Virtual worlds are notable for their realism, both for the sense of psychological immersion they provide and the apparent potential for users to perform activities and interact with objects and people “within” such worlds. This article asks whether the concept of “photographic transparency,” introduced by Kendall Walton to account for the inherent realism of photography, can be extended to account for the realism of virtual media. Specifically, I investigate whether virtual media allow for a kind of prosthetic seeing that enables users to see the real world in potentially expanded ways. The complications for the thesis of “virtual transparency” arise from the analysis of the objects and egos involved in virtual seeing. These complications show that virtual reality as a medium is not transparent, even though token uses may be.     

Transparency and reflection

ABSTRACT

Much recent work on self-knowledge has been inspired by the idea that the ‘transparency’ of questions about our own mental states to questions about the non-mental world holds the key to understanding how privileged self-knowledge is possible. I critically discuss some prominent recent accounts of such transparency, and argue for a Sartrean interpretation of the phenomenon, on which this knowledge is explained by our capacity to transform an implicit or ‘non-positional’ self-awareness into reflective, ‘positional’ self-knowledge.     

自然美学与环境美学:生发语境和哲学贡献

从审美角度观照自然和环境,早在古希腊时代就已经开始,但是从笛卡尔以来的现代哲学、现代科学和环境思想当中却缺失了这一维度.当代的"自然关学"与"环境美学"的出现,就是要超出以艺术为研究中心的"分析美学"传统,而去寻求审美观念曾经退场的新的生长空间.如从这两种关学对哲学的贡献来看,则具体包括如下四个方面:1.对"康德美学原则"的当代辩驳;2.对"环境伦理学"的本体论推动;3.对于"自然-文化"之辩的哲学反思;4.对中国古典"生态智慧"的阐发.     

Qur'anic Recitation and The Aesthetics of Piety

Qur'anic recitation and azan (the call to prayer) are heard everywhere on the Muslim–Arabian Peninsula. Even those outside the Islamic tradition find Qur'anic recitation (tilawa) very beautiful. This article is an attempt to work out some of the puzzles—aesthetic and moral—of appreciating tilawa from outside the tradition. I defend an appreciation of tilawa that is aware and admiring of its piety, but appreciates it as an object of beauty. I further attempt to show how this does not violate Islamic precepts on the “art” of tilawa.     

“美学的多样性”:第18届世界美学大会综述

2010年8月9日至13日,美学界的盛会-第18届世界美学大会在北京大学召开,来自国内外的千余名学者参与了这次会议,诚所谓"群贤毕至,少长咸集".本届美学大会的主题为"美学的多样性",由于牵涉议题广泛,参加会议学者众多,本文择其大端,概述如下.