Eternity and Print How Medieval Ideas of Time Influenced the Development of Mechanical Reproduction of Texts and Images

The methods of intellectual history have not yet been applied to studying the invention of technology for printing texts and images ca. 1375–ca. 1450. One of the several conceptual developments in this period refl ecting the possibility of mechanical replication is a view of the relationship of eternity to durational time based on Gregory of Nyssa’s philosophy of time and William of Ockham’s. Th e article considers how changes in these ideas helped enable the conceptual possibilities of the dissemination of ideas. It describes a direct connection of human perceptual knowledge to divine knowledge that enhanced the authority of printed production to transfer and reproduce the true and the good

On Breaking Up Time, or, Perennialism as Philosophy of History

Current and recent philosophy of history contemplates a deep change in fundamental notions of the presence of the past. This is called breaking up time. The chief value for this change is enhancing the moral reach of historical research and writing. However, the materialist view of reality that most historians hold cannot support this approach. The origin of the notion in the thought of Walter Benjamin is suggested. I propose a neo-idealist approach called perennialism, centered on recurrent moral dilemmas and choices. This suggests a view of the relations of moral thought and ontology placed in the diachronic context that historians study

Early Carthusian Script and Silence

At its founding and during its first three decades, the Carthusian order developed a distinctive and forceful concept of communication among the members and between the members and the extramural world.2 Saint Bruno’s life, contemporary twelfth-century exegesis, and the physical situation of La Grande Chartreuse established the necessary context in which this concept evolved. A review of historical background, the relevant documentary texts, and early development demonstrate the shaping of two steps in this concept. Close reading of the principal testimonies of Carthusians Bruno, Guigo I, Guigo II, and some other witnesses, as well as of some passages in Saint Augustine, argues that Carthusian scribal work was more preliminary practice for spiritual development than it was the sacralization of codices and texts. The two-step structure, composed of contrary movements of presentation and effacement, guarded what the Carthusians regarded as spiritual activity within a changing historical environment and became a fundamental part of Latin Christian mysticism in the fourteenth and fifteenth centuries

Jakob Leupold’s Imaginary Automatic Anamorphic Devices of 1713

In 1713 the scientific instrument-maker Jakob Leupold published designs for three machines were the first attempt to design machinery with internal moving parts that replaced human agency in creating original images. This paper first analyzes his text and engravings in order to explain how he proposed to do this, given contemporary materials and command of physical forces. Next, it characterizes the devices as a transition from concepts of incision to concepts of mirroring, taken as models of the history of mechanical reproduction. And finally, Leupold’s replacement of the sighting grid with differential gears points to a set of problems appearing in contemporary philosophy represented in Rococo artistic production of this period as well. Taking the proposed devices in context, they help to theorize the complex notions of creative activity in Rococo visual culture. Taken as an episode in the history of communications, they instance the development of conceptions of personhood and of physical forces at stake in the invention of automated media

On Willing Surrender as Virtuous Self-Constitution

Our cultural situation is to seek a moral form of self-constitution, rather than an ontological or epistemological foundation. Such a moral ground lies in the paradox of willing surrender of the will to do wrong or dysfunctional acts in order to enter temporally-extended processes of moral change. But the paradox of willing surrender of the will requires analysis. The propositional form of it cannot be sustained and must instead give way to willingness as an ongoing choice. The self-reflexivity of the will with which we accomplish this turns out to be a core activity of human activity that seeks openness to moral growth through humility. The paper suggests that self-constitution in this manner this is what freedom is for us and is therefore the source of our hope

Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style.

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality

The Parisian Porters’ Revolt of January 1786

This paper gives a full picture of the moral universe pressuring all sides in the strike by porters in Paris during January 1786. These Parisian day-labourers found their livelihood taken away by a new system of parcel delivery, part of a many-sided endeavour to rationalise the economy. They rioted and were the first rioting mob to appeal to the king at Versailles. This paper looks at the riot from the points of view of the rioters and their neighbours, the police, the investors in the new parcel post scheme and the advancing American trade. This exemplifies a theort of hustoiry that focuses on the moral universes of past actors

GILBERT: Securing Humane Values at Yale

For four days in the first week of November, the Yale administration closed the Schwarzman Center and the Good Life Center in the Schwarzman Center to celebrate Stephen Schwarzman and his donation to renovate the building he wanted named after himself. The Commons at the Schwarzman Center used to be called University Commons, a name that indicated its place at the center of Yale life as common ground. As he did in giving money for the renovation of the New York Public Library, when he insisted that his name be carved on its stone entrance beneath the names of the Astor, Tilden and Lenox Foundations, Yale was obliged to replace “Commons” with “Schwarzman.” I trust people still call it Commons

No History or Society to be Found: Object-Oriented Ontology and Social Ontology

It is widely theorized that the advent of the “Anthropocene Age” (under this or any other name) is bringing one form of human temporality to an end while it initiates another (Simon 2021). Because human activity threatens the duration and well-being of the planetary biosphere, the new age that this activity is bringing on—though it is proving to be extremely difficult to define—does present specific onto-epistemological and moral challenges behind its political and social problems. The most prominent and perhaps the core of these challenges is the demand to shed anthropocentrism in human culture, a change that would deeply alter our personal and social ethics through ontology and temporality. The campaign for dis-anthropocentrization thus calls for a moral, scientific, social, and political challenge based on a change in ontology that affects our conceptions of knowledge, reality, and the relations of humankind to nature and of human beings to one another. I use the term rigid or thoroughgoing dis-anthropocentrization for the purest form of rigorous anti-anthropocentrism based philosophical analysis of the fundamental ontology of history and society

On Some Moral Implications of Linguistic Narrativism Theory

In this essay we consider the moral claims of one branch of non-realist theory known as linguistic narrativism theory. By highlighting the moral implications of linguistic narrativism theory, we argue that the “moral vision” expressed by this theory can entail, at worst, undesirable moral agnosticism if not related to a transcendental and supra-personal normativity in our moral life. With its appeal to volitionism and intuitionism, the ethical sensitivity of this theory enters into difficulties brought about by several internal tensions as to what morality and moral judgements involve. We contend that the proponents of linguistic narrativism theory must strongly recognize and take responsibility for the “moral vison” their theory professes, in so far as they want to think of their theory as a morally responsible one