This is a prepublication version of my book Objects and Attitudes. The book develops a novel semantics of attitude reports, modal sentences, and quotation based on the view that sentences semantically act as predicates of various attitudinal and modal objects, entities like claims, requests, promises, obligations, and permissions, rather than standing for abstract propositions playing the role of objects. The approach develops truthmaker semantics for attitudinal and modal objects and has a wide range of applications to issues in philosophy of (...) language, semantics, and philosophy of mind. (shrink)

The Information Artifact Ontology (IAO) was created to serve as a domain‐neutral resource for the representation of types of information content entities (ICEs) such as documents, data‐bases, and digital im‐ages. We identify a series of problems with the current version of the IAO and suggest solutions designed to advance our understanding of the relations between ICEs and associated cognitive representations in the minds of human subjects. This requires embedding IAO in a larger framework of ontologies, including most importantly the Mental (...) Func‐tioning Ontology (MFO). It also requires a careful treatment of the aboutness relations between ICEs and associated cognitive representa‐tions and their targets in reality, which implies in turn a new treatment of the relation of truthmaking. (shrink)

Husserl’s philosophy, by the usual account, evolved through three stages: 1. development of an anti-psychologistic, objective foundation of logic and mathematics, rooted in Brentanian descriptive psychology; 2. development of a new discipline of "phenomenology" founded on a metaphysical position dubbed "transcendental idealism"; transformation of phenomenology from a form of methodological solipsism into a phenomenology of intersubjectivity and ultimately (in his Crisis of 1936) into an ontology of the life-world, embracing the social worlds of culture and history. We show that this (...) story of three revolutions can provide at best a preliminary orientation, and that Husserl was constantly expanding and revising his philosophical system, integrating views in phenomenology, ontology, epistemology and logic with views on the nature and tasks of philosophy and science as well as on the nature of culture and the world in ways that reveal more common elements than violent shifts of direction. We argue further that Husserl is a seminal figure in the evolution from traditional philosophy to the characteristic philosophical concerns of the late twentieth century: concerns with representation and intentionality and with problems at the borderlines of the philosophy of mind, ontology, and cognitive science. (shrink)

The current discussion of the intentionality nature has become more sophisticated and complex. In this paper I will delineate a number of approaches to intentionality in contemporary philosophy: 1 mentalistic; 2 semantic / linguistic; 3 pragmatic; 4 somatic; 5 and naturalistic. Although philosophers identify and analyse many concepts of intentionality, from the author point of view, there is only one intentionality: mentalistic intentionality. Furthermore, there are the pre-intentionality in the physical world and the meta-intentionality in the world of culture.

ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an altogether (...) subjective phenomenon, available at most only to those psychological subjects conditioned or predisposed to recognize certain features as possessing specific aesthetic properties. The article examines topics related to the intentionality of expression in art. Intention is often rejected as a basis for aesthetic judgment. The present discussion, by focusing on the role of perception in art production and appreciation, considers ways of addressing those objections to restore an intuitive sense of the intentional expressiveness of art. The proposed solution also helps uphold an approach toward answering the question of whether aesthetic value generally is only subjective or also has a distinctively objective element. (shrink)

In this paper I offer a novel analysis of Quine's indeterminacy puzzle and an unorthodox approach to its resolution. It is argued that the ultimate roots of indeterminacy lie not in behaviorism per se, but rather in Quine's commitment to a fundamental assumption about the nature of perceptual input, namely, the assumption that sensory information is strictly extensional. Calling this assumption the 'principle of input extensionalism' (PIE) I first demonstrate the fundamental role that it plays in generating Quine's argument for (...) the indeterminacy of translation. It is then argued that a tacit acceptance of PIE is prevalent among contemporary theories of cognition and representation, making Quine's puzzle a living challenge for cognitive science and the philosophy of mind. A standard way of responding to the challenge consists of the idea that the indeterminacy generated at the perceptual level is canceled out courtesy of the contribution of higher cognitive processes. However, I argue that such a top-down solution leaves much to be desired. As an alternative, I offer a bottom-up solution, which consists of a systematic rejection of PIE in favor of an intensional view of perceptual input rooted in contemporary action-based theories of perception, and in particular in the notion of perceptual invariants. (shrink)