Abstract
There is a strong visual dimension to the teaching and communication of philosophy. In the Early Modern period scholars used various kinds of images to convey conceptual relations, with students encouraged to think through spatial and visual metaphors in order to articulate philosophical theories. Thought experiments are ubiquitous in contemporary analytic philosophy and they are highly visual. We imagine Mary leaving the black and white room and encountering a red rose, and the trolley approaching the fork in the tracks. I distinguish between illustrative and performative uses of images, discussing examples from the history of art and my own artworks. The former are where images are used merely to illustrate and communicate philosophical ideas. A Venn diagram, for example, may help someone to see that knowledge is justified true belief, with knowledge situated where the three circles overlap. There are also, though, artists who have a deeper (performative) engagement with philosophical ideas—where it could be said that they are philosophizing through their art. Their artworks do not merely raise philosophical questions or prompt philosophical reflection, but philosophical ideas or conclusions are to be found in the artwork or act of creation. I suggest, therefore, that artists of various stripes can be seen as pursuing philosophy with their brushes, glue sticks and pallet knives. Reflection on both illustrative and performative philosophical art can be enriching in various ways, suggesting future collaboration between philosophers, art historians and artists, and thus revitalizing the idea of universities embodying ongoing and open-ended conversations.
Details
Presentation Type
Theme
KEYWORDS
Philosophy, Visual art, Thought experiments, History of Art
