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.

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.

The artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art. Bussmann has internalized the relationship between art and philosophy. In this exploration of the history of German aesthetics through Bussmann's work, David Carrier places the philosophical tradition in the context of contemporary visual culture. Each chapter focuses on the arguments of a major philosopher whose concerns Bussmann has dealt with as an artist: Kant, Hegel, Merleau-Ponty, Wittgenstein and Arendt. Offering comparative accounts of artists and philosophers whose work is of especial relevance, Carrier shows how Bussmann responds visually to writings of philosophers in art that has an elusive but essential relationship to theorizing. Tackling the question of whether philosophical subjects can be presented visually, Carrier offers a fresh perspective on the German idealist position through the visual art of 21st-century artist steeped in the tradition and continually challenging it through her work.

In opposition to both skeptics and representationalists, Huemer (philosophy, U. of Colorado, Boulder) presents a theory of perceptual awareness, according to which perception gives us direct awareness of real objects and non-inferential knowledge of the properties of these objects. He responds to the major arguments for skepticism, including the infinite regress argument, the problem of the criterion, the brain in the vat, and the impossibility of verification. c. Book News Inc.

Children learn a great deal from other people, including history, science and religion, as well as language itself. Although our informants are usually well-intentioned, they can be wrong, and sometimes people deceive deliberately. As soon as children can learn from what others tell them, they need to be able to evaluate the likely truth of such testimony. This book is the first of its kind to provide an overview of the field of testimony research, summarizing and discussing the latest findings into how children make such evaluations – when do they trust what people tell them, and when are they skeptical? The nine chapters are organized according to the extent to which testimony is necessary for children to learn the matter in question – from cases where children are entirely dependent on the testimony of others, to cases where testimony is merely a convenient way of learning. Chapters also consider situations where reliance on testimony can lead a child astray, and the need for children to learn to be vigilant to deception, to ask questions appropriately, and to evaluate what they are told. With an international range of contributors, and two concluding commentaries which integrate the findings within a broader perspective of research on child development, the book provides a thorough overview of this emerging sub-field. Trust and Skepticism will be essential reading for researchers, academic teachers and advanced students working in the areas of cognitive development and language development, and will also be of great interest to educationists concerned with nursery and primary education.

Drawing on the film-philosophies of Stanley Cavell and Gilles Deleuze, argues that skepticism is an ethical problem that pervades contemporary film. Because of its automatic way of recording reality, film has a privileged relation to the problem of skepticism. If early film theorists celebrate cinema for overcoming skeptical doubt about the power of human vision, recent film-philosophers argue that our postphotographic, digital cinema is heading toward a general acceptance of skepticism, as though nothing on screen has anything to do with reality any longer. Emerging from the interaction of Stanley Cavell’s and Gilles Deleuze’s film-philosophies, Cinematic Skepticism challenges both these views. Jeroen Gerrits takes the issue of skepticism beyond concern with knowledge, turning skepticism into an ethical problem that pervades film history and theory. At the same time, he rethinks a Cavello-Deleuzian approach across the digital and global turns in cinema. Combining clear explanations of complex philosophical arguments with in-depth analyses of the contemporary films Grizzly Man, Amélie, Three Monkeys, and The Headless Woman, Gerrits traces how cinema invents ways of dis/connecting to the world. “This book opens up Cavell’s work to new films, and thus it makes an important contribution to the reception of Cavell’s work among film scholars and philosophers alike. It is also the most sustained and engaging attempt to read Cavell alongside Deleuze, offering an original argument on the many philosophical issues both writers commit their work to.” — Daniele Rugo, author of Philosophy and the Patience of Film in Cavell and Nancy