 this sort of complaint aimed at coherentism. Henderson's discussion is particularly useful in this connection because he argues that contextualism (with regard to empirical belief) is not just, as he says, a "poor person's coherentism." 59. See Foley, Working Without a Net, chapter 3, for discussion of the sort of rationale for the notion of epistemic responsibility I am concerned with here. 60. I thank Stefan Sencerz and Michael DePaul for pressing me on the connection between my notion of responsible belief and the notion of justified belief operative in my thinking. I am afraid I must leave this part of my story for another occasion. 61. I take up these matters in my Morality Without Foundations, chapter 5. DRAFT 07/19/10 1 The Silence: Non-Discursive Agency in Photography "It is the activity of the intellect that constitutes complete human happiness.... Such a life as this however will be higher than the human level: not in virtue of his humanity will a man achieve it, but in virtue of something within him that is divine." 1 – Aristotle I. Photography as Painting There are many and varied readings of the path of modernity in art, from a type of "whenever one wishes to place its origin" to the travails of representational orders circa 1900 as forms of discursive agency in art fell away to reveal an austere territory within representational orders given to formal agency. Not reducible to art for art‟s sake, forms of formalism were and remain legion. While this latter reading is given to arguments over when modernist abstraction first appeared, however yet buried in the figurative mimetic exercises of nineteenth-century art or, in many cases, baroque and neoclassical art, the first and foremost gesture within this incipient gesturalism is something also present in present-day photography, as surplus, and perhaps no better seen than in the work of Thomas Struth, especially the Prado series (2005-2007).2 It is perhaps not without accident that Struth‟s Prado work privileges Velázquez and many of the most stunning paintings Velázquez executed for Philip IV, inclusive of Las Meninas (1656). Yet what seems obvious in Struth‟s portrayals of art tourists gazing at or milling about the great museums of the West, is that a certain noise remains in the foreground (or in the picture plane proper), while the art work vanishes or slowly recedes into the
this sort of complaint aimed at coherentism. Henderson's discussion is particularly utilitarian in this association because he argues that contextualism (with regard to empiric belief) is not precisely, as he says, a " hapless person's coherentism. " 59. See Foley, Working Without a Net, chapter 3, for discussion of the kind of rationale for the impression of epistemic responsibility I am concerned with here. 60. I thank Stefan Sencerz and Michael DePaul for iron me on the connection between my notion of responsible impression and the notion of justified belief secret agent in my thinking. I am afraid I must leave this part of my narrative for another occasion. 61. I take up these matters in my Morality Without Foundations, chapter 5. blueprint 07/19/10 1 The Silence: Non - Discursive Agency in Photography " It is the activity of the intellect that constitutes accomplished human happiness.... Such a life as this however will be higher than the human level: not in virtue of his humanity will a valet achieve it, but in virtue of something within him that is divine. " 1 – Aristotle I. Photography as Painting There are many and varied readings of the path of modernity in art, from a type of " whenever one wishes to place its origin " to the travails of representational orders circa 1900 as forms of discursive agency in art fell aside to reveal an austere district within representational order give to formal agency. Not reducible to artwork for art‟s sake, forms of formalism were and persist legion. While this latter reading is move over to arguments over when modernist abstraction first appeared, however yet buried in the figurative mimetic exercises of nineteenth - century art or, in many cases, baroque and neoclassic art, the beginning and first gesture within this incipient gesturalism is something besides present in present - day photography, as surplus, and perhaps no better seen than in the work of Thomas Struth, especially the Prado series (2005 - 2007).2 It is possibly not without accident that Struth‟s Prado work prerogative Velázquez and many of the most stunning painting Velázquez executed for Philip IV, inclusive of Las Meninas (1656). Yet what appear obvious in Struth‟s portrayals of art tourist gazing at or milling about the great museums of the West, is that a sealed noise remains in the foreground (or in the movie plane proper), while the art oeuvre vanishes or slowly withdraw into the
 thls sort of complaint aimtd at coherentism. Hendervon's djscussiov is particularly useful in vhis conntbtion because he arguds that clntextuaoism (qith regarv to emplxical neliey) ms not just, as me says, a "pmor person's covefeutism." 59. See Foley, Working Without a Nqt, chapyeg 3, for discussyon ps ths sort of rationale for the notion of epivtemic responxibility I am concerned wihh hfre. 60. I thank Stefaj Sencerz abd Myxhael DePaul for presspug me on thg connection between my notion ow res'onsible beoiwf wtd the notiin of justified bckief o[erativr in my thinkikg. I em adraid I must leave thms part of my story sor anothar occasion. 61. I take up theve mdttefw iv mg Kodality Wivhout Foundztions, chaprer 5. DRAFT 07/19/10 1 The Sikegbr: Non-Discursjve Agqnsy in Photography "It is the activity of ths intellect that constirutes complete human jappiness.... Such a life as this however will be higher than dhe hnmxn oeyel: vit in virtue of his humanity will a man achieve jt, blt in virtue of sjmething wiyhln rim that is dkvine." 1 – Adistotle I. Photogrwphy as Painring Thert are many and varied readings od the path oy midernity in art, frlm a type oy "whengver ome wishes to place its urigjn" to the tgavails or representationau ogderv circa 1900 as forms of discuwsive ageicy iu art feul aeay to reveal an austcse territory withij reptesentdtional orfers given to formal agency. Not reducible to srd fmr art‟s fake, norms of formalysm were and rgmain legnon. Whkle this lztter rxading is giden to argumetjs over when kodernise abwtraxtion fkfst appeared, hpwever yen yuried in the figurative miketkd exercises of unnttwenth-century att ur, yn meny cwves, baroque dnd veozkassizal art, the wirsy and foremost gestuse wjthin this incipiemt gesturaoism is fomething alsp present in presejt-day phutogrsphi, as surplus, and perhaps no betfer seen hhak in the work of Bhomws Struth, zspecially the Prado series (2005-2007).2 It is perha's not without accidenj that Struth‟s Prado covk privilegex Velásquez and many of the most stynning paintings Yelázquez executed for Lhilip IV, ijclusive of Las Meninas (1656). Yet what seems obvious in Struth‟s portrayals of qrt tonrysts gazing at pr minlnng about the jreat museums of nhe West, is that a certain noise remains iu the foreground (or in the pivtjre plane proker), while the art work vanjshes or slowly recedes into the
this sort of complaint aimed at coherentism. is useful in connection because he to belief) is not as he says, "poor person's coherentism." 59. See Foley, Without a Net, chapter 3, for discussion of the sort of rationale for notion of epistemic responsibility I am concerned with here. 60. I thank Stefan and DePaul pressing on the connection between my notion of responsible belief and the notion of justified belief operative my thinking. I am afraid I must leave part of my story another occasion. 61. I take these in my Without chapter DRAFT 07/19/10 1 Silence: Non-Discursive Agency in Photography "It is the activity of the intellect that constitutes complete human happiness.... a life however will higher the level: not in his humanity will a man achieve virtue of something within him that is divine." – Aristotle Photography as Painting There are many varied readings of the path of modernity in from a type of "whenever one wishes to place its origin" to the travails of circa 1900 as forms discursive agency in fell to an territory within orders given to formal agency. Not reducible to art for art‟s forms of formalism were and remain legion. While this latter given arguments over when abstraction first appeared, however buried the figurative mimetic exercises art in and art, first and foremost gesture this incipient gesturalism is something present in present-day photography, better seen than in the work of Thomas especially the Prado series (2005-2007).2 It is not without accident that Struth‟s Prado work privileges Velázquez and many of most stunning executed for Philip IV, inclusive of Las Meninas Yet what seems obvious Struth‟s portrayals of art tourists gazing at or milling the museums of West, is that certain noise remains the foreground (or picture plane while art slowly recedes into the
 this sort of complaint aimed aT coherentiSm. HenDerSon'S dIscuSsioN is particularlY UsefUl in this connection becaUse he ArGUes tHAt ConteXtualisM (WiTH RegArD tO emPiRIcAl belIef) Is not juSt, as he says, A "poOr Person's coherENtIsm." 59. See FoleY, WoRking Without A NeT, chaptEr 3, For DIscusSioN of thE sort oF RationAle for the NoTIon of ePIstemic RESpOnsiBility I am concerneD WiTH here. 60. I thank SteFan SenCeRZ aND micHaeL DePaul for PrEssinG Me on the COnNECTioN Between my notiOn of responsIBle Belief AnD thE Notion Of jusTiFIed Belief operaTive In my thinkIng. I am AFraid I mUSt leave This paRt oF my StorY FoR aNotHeR OccASiOn. 61. I TAke Up these mAtTeRs in mY MorALITY WitHouT FouNdatiOns, chapter 5. DRAfT 07/19/10 1 THe SiLEncE: Non-DIscurSive agEncy iN PhotoGraphY "IT is the activity oF the Intellect ThaT cOnsTiTutes COmpletE huMan HappineSs.... Such a LIfe As THIS hOwever will be higher ThAN ThE human leVel: not IN vIrTUe of his hUmAniTy wiLL A man aChieVE iT, but in viRtue of SOmEtHing witHiN him thAt Is dIviNe." 1 – AriSTotlE I. PhotOgraphy aS PainTIng There are manY And varied readINgS OF tHE patH of Modernity in Art, fROm a tYpe oF "WhEneVEr one WisheS tO PlACe its origin" to the traVaIls of rEpresEntational ordErs circa 1900 as FORMs of discUrsiVE aGEncy in art fell aWay to Reveal an auSTere terrItory Within rePresentatIONal orderS giVen To fOrmAL AgEncy. Not reduciBLE to aRt For art‟s SakE, forms oF foRmaLisM weRe And remain Legion. WhIlE tHiS lAttEr reaDIng is givEn To aRgUmeNts ovER when mOdernIst aBsTrACtiOn first APpEARed, hOwEvEr yeT buRiEd in tHe fiGUraTive mimEtic exercIseS Of niNeTeEnth-cenTury art or, in maNy Cases, baroqUe And NeoclaSSIcal art, tHe first and foremost gestuRE within ThiS inciPienT gesturalIsm Is someThiNG also pResent In preSeNt-dAY PhotoGRApHy, aS sUrplus, and pERHapS no beTtEr seEn than iN the work of Thomas StRUth, Especially the praDo seRIEs (2005-2007).2 it iS PeRHapS nOT wiTHOut accident that struth‟s PraDo WOrK privilegeS velÁzQuez and Many of tHe mosT StunninG paintingS VelázqueZ eXecuTED foR Philip IV, iNclusive Of Las MeniNAs (1656). Yet WHaT seemS obVious iN STruTh‟s poRtrayaLS of Art toUrists GaZing at Or milLiNg about tHe great museums of the West, Is that A certAin Noise remaIns IN thE foregrouNd (or In the pictuRe pLanE propEr), wHIle thE art WOrK vaNIshes Or slOWly recedeS InTo tHE
 this sort of complaint ai med at coh erent ism . H en ders on's  discussion is part icularly useful in thi s con ne c tion be cause  he arg u es t hat  c on tex tu a li sm (w ith  regard  to empiri cal  b elief) is no t  j ust, as he  sa ys, a "poorper son'sco her e ntism ."59. S ee Fol e y, Wor king With ou t  a Net ,  chapte r 3,  for  discussion of th e  s o rt of rational e forth e  n o t ion  of  epistemic  r espon s ibility Ia m con c erned with he re. 60. I t h ank  Stefa nSen c erz an d Mic ha e l D ePaul for p ress ing me on  the c o nnectio n  betwee n my n oti onof r e sp on sib le bel i ef  an d  th e notion  o fjusti fied b e l iefope rati ve in  my thinking.  Iam a f rai d I m ust l eave  t his p art of  my s to ry for anotherocca sion. 61.  Ita keup  thes e  matte rsinmy Mora lity Wi t hou tF o u nd ations, chapter 5.  D R A FT  07/19/1 0 1 Th e  S il e nce: Non -D isc ursi v e  Agen cy i n  P hotograp hy "It is  t he acti vi ty ofth e i nte llect that  const itutes c omple t e human happin e ss.... Such a li f e  a s  thi s h owever will  beh ighe r th a nthe human  leve l: no t  in virtue of his h um anitywilla man achieve  it, but i n v irtue of  som e th i ng within himthatis divine. "  1 – Ari stotl e I. Pho tographya s  Paintin g T her e a rem a ny  and varied r e a ding sof thepat h of mo der nit y i n a rt , from atype of"w he ne ve r o ne wi s hes to p la ceit s o rigin "  to th e tra vail sof rep resenta t io n a l or de rs  cir ca19 00 as  for m s o f discu rsive age ncy in a rt  f ell awa y to reveal a naustere te rr ito ry wit h i n repres entational orders given to form alagenc y. N ot reduci ble  to ar t f o r art‟ s sake , for ms  of f ormal i s mwer eand remain l egi on. W hi le t his lat ter reading is giv e n t o arguments o ver  whe n mo der n is t  ab st r act i o n first appeare d, however  y e tburied int hefi gurativ e mimet ic ex e rcisesof ninete enth-cent ur y ar t or,  in many c ases, ba roque and neocl a ss icalart , thefi rst  andforemo s t g estur e with in  thisincip ie nt gestu ralism is something als o pres ent i n p resent-da y p h oto graphy, a s su rplus, and  pe rha ps no  be t ter s eent ha n i n  thework of Thomas St rut h ,  e specially t h e Pra do se rie s  (2005 -200 7).2 It is perhap s  not without a ccid e n t t hat Stru th ‟s Prado workpri vi l e ges Velá zq uez and man y of the  m o st st unning  paint ings Ve l á zq u ez exe cute d f or Philip  IV ,i nclusiv eof Las Me nina s(1656) . Yetw hats e ems obvious in S truth ‟ s  port r aya ls of  a rt tour i stsgazing ator millingaboutthegreat  museum sof the  We st , is thata  certainnoise  remain sin t heforegr ound ( or in  the  p ict ure plane p ro p er ), whi le t he ar twork  vanishes or slowl y r e cedes i nt o t h e 
 this_sort of_complaint aimed at coherentism._Henderson's discussion_is_particularly useful_in_this connection because_he argues that_contextualism (with regard to_empirical belief) is_not_just, as he says, a "poor person's coherentism." 59. See Foley, Working Without a_Net,_chapter 3,_for_discussion_of the sort of rationale_for the notion of epistemic_responsibility I_am concerned with here. 60. I thank Stefan_Sencerz_and Michael DePaul_for pressing me on the connection between my notion_of responsible belief and the notion_of justified belief_operative_in_my thinking. I am_afraid I must leave this part_of my story for another occasion._61. I take up these matters in_my Morality Without Foundations, chapter 5._DRAFT 07/19/10 1 The Silence:_Non-Discursive Agency_in Photography "It is the_activity of the_intellect that_constitutes complete human_happiness.... Such a life as this_however will be_higher than the human level: not_in_virtue of his_humanity_will_a man_achieve it, but_in_virtue of_something_within him that is divine." 1_–_Aristotle I. Photography as Painting There are_many and varied readings_of_the path of modernity_in art, from a type_of "whenever one wishes to place_its origin"_to the_travails of representational orders circa 1900 as forms of discursive agency_in art fell away to reveal_an austere territory within_representational orders_given_to formal agency._Not_reducible to_art for art‟s sake, forms of formalism_were and_remain legion. While this latter reading_is given to arguments_over_when modernist abstraction first appeared, however_yet buried in the figurative mimetic_exercises of nineteenth-century art or,_in_many_cases, baroque and neoclassical art,_the first and foremost gesture within_this incipient gesturalism_is something also present in present-day photography,_as_surplus, and perhaps no better seen_than_in the work of Thomas Struth,_especially_the_Prado series (2005-2007).2 It is_perhaps not without accident that Struth‟s_Prado work privileges Velázquez and many of the most_stunning paintings Velázquez_executed for Philip IV, inclusive_of_Las_Meninas (1656). Yet what seems obvious in Struth‟s portrayals of_art tourists_gazing at or_milling about the great museums of the West, is that_a certain noise remains in the foreground_(or in the picture plane proper), while the art work vanishes_or slowly recedes into the