In a new article for Aeon magazine, Sarah Fine contemplates the different dimensions of art as meaning maker in times of crisis. The article discusses art’s role in fomenting the hope of survival, expressing challenging emotions, empowering articulation of thought or conveying personal protest. Read the full article just published in Aeon magazine here
This week Sacha Golob (CPVA) and the National Gallery are hosting a panel discussion on Sin and Art.
Speakers include writer, drag performer and filmmaker Amrou Al-Kadhi; philosopher Deborah Casewell; art historian and Chaplain at King’s College, Cambridge, Ayla Lepine; and Director of the Centre for Philosophy and Visual Art Sacha Golob.
Before coming to King’s I worked at various universities across Europe. I was in the Philosophy Section at the University of Copenhagen for six years. I then joined the Jean Nicod Institute at the Department of Cognitive Studies at École Normale Supérieure, Paris, for a year. Most recently, before coming to King’s, I was a member of the LOGOS group at the University of Barcelona.
What will you be teaching this term?
This term I am teaching Neuroscience and the Mind, which is an introduction to philosophy of mind tailored specifically to students following the BSc in Neuroscience or other undergraduate courses in the Health Schools.
How did you get into philosophy?
At secondary school! My school generally encouraged reflection: lessons in “Scripture” were built into our curriculum and would involve the teacher leading a kind of seminar discussing concepts like justice, love, time, etc. as they are raised in various ancient texts, such as the Bible and the Bhagavad Gita. I had a fantastic English teacher, Katharine Watson, who took it upon herself to teach philosophy at AS and A-level. It was her first time teaching the material, which must have been a challenge, but I only realised this later on, as she did such a fantastic job introducing us to the distinctive framing and treatment of philosophical problems in academic philosophy.
In a recent article you argue that we can combine multiple first person perspectives under one unified perspective. What do you think is minimally required for a perspective to pertain?
Well, most of my work on the notion of perspective is in the context of thinking about perceptual experience. In that context, whenever there’s a perspectivally structured experience, there’s a perspective – for a perspectival structure is, I take it, an organisation of content determined by a perspective. That’s a slightly uninteresting answer though. Perhaps more interesting is to think about perspective more broadly. After all, being perspectivally structured is a property not only possessed by perceptual experiences. Here I am interested in the kinds of perspective structuring images and various other ways of representing time and space. Indeed, in a broader sense of the notion of a perspective, it characterises any representation which is structured in relation to some privileged something, such as a theory, a group-identity, or a set of political or social ideas.
How central is the notion of a perspective to your research?
Well my interest in perspective is really a part of my interest in problems to do with self-consciousness. Take, for instance, the problem elusiveness: self-consciousness is supposed to involve a special relation to oneself as a subject of thought and experience; but how is it that we are able to think about or experience that which is thinking the thought or having the experience? I am interested in the viability of an embodied approach here, according which each subject of experience is a special kind of object, a conscious, thinking body. If we assume this and we grant the obvious fact that we do experience our bodies, it would seem, then, that we have an obvious response to the problem. So my interest in perspective is really an interest in what is right (or wrong) with an account along these lines, one which appeals to the perspectival structure of perceptual experience as a means by which we can be aware of ourselves as embodied.
Your research goes beyond conceptual investigations and include a wide of pool of collaborations. Can you tell us about teh work you have done with the artist Mariam Zakarian?
Mariam was involved in a workshop that I organised at the University of Copenhagen on virtual reality (VR) technology. VR presents the promise of otherwise impossible forms of experience, unconstrained by the bounds of physical reality, stretching our current understanding of the limits of experience. I wanted to ground the theoretical discussion properly in the subject matter, so I worked with Kasper Hornbæk and Aske Mottelson at the Computer Science department to set up a demonstration area where participants could experience various virtual worlds for themselves. (Mariam’s demonstration was part of her Amaryllis series: http://www.amaryllisvr.com/ ). I think that the experience of VR, especially the experience of its contents as plausible, are a great example of how some of our experiences are partly self-constructed, in virtue of our mental activity transforming incoming sensory experience to form a state of imaginative perception. I think that this will allow us to reconsider a wide range of illusions as really cases of imagining sensorially present objects to be things that they are not.
The Birmingham-Bristol-London-Oxford-Cambridge (BBLOC) Philosophy of Physics seminar, hosted by King’s College London will be meeting on 19th November 2020 4:30-6pm GMT. Emily Adlam will be giving a talk with the title ‘Spooky Action at a Temporal Distance’.