In seventeenth-century northern Europe, as the Aristotelian foundations of scientia were rocked by observation, experiment, confessional strife, and political pressure, natural philosophers came to rely on the printed image to fortify their epistemologies—and none more so than René Descartes. In Skepticism’s Pictures, historian of science Melissa Lo chronicles the visual idioms that made, sustained, revised, and resisted Descartes’s new philosophy. Drawing on moon maps, political cartoons, student notebooks, treatises on practical mathematics, and other sources, Lo argues that Descartes transformed natural philosophy with the introduction of a new graphic language that inspired a wide range of pictorial responses shaped by religious affiliation, political commitment, and cultural convention. She begins by historicizing the graphic vocabularies of Descartes’s Essais and Principia philosophiae and goes on to analyze the religious and civic volatility of Descartes’s thought, which compelled defenders (such as Jacques Rohault and Wolferd Senguerd) to reconfigure his pictures according to their local visual cultures—and stimulated enemies (such as Gabriel Daniel) to unravel Descartes’s visual logic with devastating irony. In the epilogue, Lo explains why nineteenth-century French philosophers divorced Descartes’s thought from his pictures, creating a modern image of reason and a version of philosophy absent visuality. Engaging and accessible, Skepticism’s Pictures presents an exciting new approach to Descartes and the visual reception of seventeenth-century physics. It will appeal to historians of early modern European science, philosophy, art, and culture and to art historians interested in histories that give images their argumentative power.

Explores the visual idioms that made, sustained, revised, and resisted Cartesian philosophy. Locates Descartes's physics and its reception in a panoramic visual culture, where knowledge of the invisible depended on what could be seen.

At its deepest, philosophical skepticism questions the sense of language. Skepticism manifests itself in different forms, three of the most powerful being logical, external-world, and religious skepticism. How has philosophy of religion addressed these challenges? The attempt to answer this question leads Lance Ashdown to a consideration of three prominent contemporary philosophers of religion: Richard Swinburne, John Hick, and William Alston. The author shows that these philosophers are indeed open to the criticisms of the three types of skepticism mentioned above. According to Ashdown, they are rightly to be considered as 'anonymous skeptics'. Readers familiar with the work of the theologian Karl Rahner will recognize an echo of his famous doctrine that non-Christian religious believers are really 'anonymous Christians', i.e., Christian believers who do not recognize themselves as such. In a similar way, the philosophers of religion under consideration are skeptics who most certainly would not identify themselves as such. They are anonymous skeptics in the sense that their epistemologies create the very conditions that allow for the severe and, on their own terms, unanswerable challenges of skepticism. At the same time, none of these philosophers thinks that skeptical objections pose a devastating or unanswerable threat to their epistemologies. For example, each of them is an avowed believer in God and is fully aware of the challenge of religious skepticism, yet none believes that skepticism need cause a rational Christian to abandon his or her beliefs. Nevertheless, each of the three philosophers adheres to a philosophical theory that remains open to the devastating critique of Philo in David Hume's essay Dialogue Concerning Natural Religion - who argues at his deepest that talk of God is meaningless.

Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

In seventeenth-century northern Europe, as the Aristotelian foundations of scientia were rocked by observation, experiment, confessional strife, and political pressure, natural philosophers came to rely on the printed image to fortify their epistemologies—and none more so than René Descartes. In Skepticism’s Pictures, historian of science Melissa Lo chronicles the visual idioms that made, sustained, revised, and resisted Descartes’s new philosophy. Drawing on moon maps, political cartoons, student notebooks, treatises on practical mathematics, and other sources, Lo argues that Descartes transformed natural philosophy with the introduction of a new graphic language that inspired a wide range of pictorial responses shaped by religious affiliation, political commitment, and cultural convention. She begins by historicizing the graphic vocabularies of Descartes’s Essais and Principia philosophiae and goes on to analyze the religious and civic volatility of Descartes’s thought, which compelled defenders (such as Jacques Rohault and Wolferd Senguerd) to reconfigure his pictures according to their local visual cultures—and stimulated enemies (such as Gabriel Daniel) to unravel Descartes’s visual logic with devastating irony. In the epilogue, Lo explains why nineteenth-century French philosophers divorced Descartes’s thought from his pictures, creating a modern image of reason and a version of philosophy absent visuality. Engaging and accessible, Skepticism’s Pictures presents an exciting new approach to Descartes and the visual reception of seventeenth-century physics. It will appeal to historians of early modern European science, philosophy, art, and culture and to art historians interested in histories that give images their argumentative power.

Michael Leja offers a new, specifically visual, model for understanding American art in the decades before and after 1900.