1 Context The idea for the current issue of _Philosophia Scientiæ_ emerged from discussions which took place in the Manchester Ethnomethodology Reading Group. This reading group has its origins in Wes Sharrock’s weekly discussion groups, which have taken place in Manchester (UK) since the early 1970s. As the global Covid-19 pandemic hit in early 2020, the reading group moved online, facilitated by Phil Hutchinson and Alex Holder. Being an online reading group opened up participation to people beyond Northwest UK and (...) within weeks the group became global, with the membership including participants logging on from Canada, Czech Republic, Finland, France, Germany, Greece, Hong Kong, Japan, Macau, New Zealand, Spain, Sweden, and the USA. While the name of the group might indicate an exclusive focus on ethnomethodology, following the naming conventions for academic discussion groups, the name really fails to indicate both the heterogeneity of the group’s reading materials, the interests of t... (shrink)

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)

1 Context The idea for the current issue of Philosophia Scientiæ emerged from discussions which took place in the Manchester Ethnomethodology Reading Group. This reading group has its origins in Wes Sharrock’s weekly discussion groups, which have taken place in Manchester (UK) since the early 1970s. As the global Covid-19 pandemic hit in early 2020, the reading group moved online, facilitated by Phil Hutchinson and Alex Holder. Being an online reading group opened up participation to people b...

In this paper, I draw a parallel between aspects of René Thom’s topological program understood as semiophysics, and Jakob von Uexküll’s theory of meaning. Through the use of Thom’s semiophysics, I believe that it is possible to interpret Uexküll’s intuition that meaning unfolds a kind of transformation in an organism’s transactions with the environment: that is, meaning incorporates topological spaces. The central idea in question is that beyond the semantic, syntactical and pragmatic human use of language, meaning incorporates specific topologies (...) by expressing the spatial interaction between organism and environment. This is what I mean by René Thom’s reading of Jakob von Uexküll. (shrink)

Roger Scruton's 530-page blockbuster The Aesthetics of Music was published by Oxford University Press in 1997. A paperback edition followed two years later. Neither received more than a handful of notices, a few appreciative, but some grudging and some actually hostile. As its quality has come to be recognized, and as the resentments it provoked have either died down or found newer targets, the book has gradually achieved a certain canonical, even classic, status. Students of the subject now seem to (...) feel that, however unpalatable some of its conclusions may have been, it can no longer safely be ignored. The questions, it appears, are the right ones, even if we don't care for Scruton's answers. (shrink)

In this paper, I first want to vindicate Wollheim’s idea that seeing-in, taken as the twofold phenomenologically sui generis experience which picture perception consists in, accounts for the phenomenon of perceptual constancy. Following Wollheim’s usage himself, by “perceptual constancy” I will mean a particular phenomenon of perceptual robustness, namely the fact that a picture’s subject is experienced as undistorted from any point of view in which a spectator may regard a picture. Moreover, I will properly take into consideration the specific (...) impression of “being followed” by the gaze of a picture’s subject in portraits (and alike pictures), which in these cases is a consequence of perceptual constancy. For this impression corroborates a particular reading of what the seeing-in experience really consists in. According to such a reading, in the configurational fold of that experience one experiences both the merely visible surface properties and the design properties of the picture’s vehicle, where such design properties also include the so-called grouping properties of the vehicle. On the basis of such a fold, moreover, in the recognitional fold of the seeing-in experience one knowingly illusorily sees the picture as its subject. (shrink)

Jakob von Uexküll’s problematic is manifested in his paradoxical portraiture of form within the plan of nature: the one a sensual schema and the other a transsensual ideal form. At first sight, Uexküll’s belief in the Platonic and the Reformational notions of the immobile becoming of form seems to be a resignation from the heated debates among his contemporary materialists, vitalists, dynamists, and evolutionists. However, in terms of the Kantian subjective teleology, Uexküll’s appropriation of the ancient philosophy reinstates the invisible, (...) static, but repetitive cycle as his regulating principle in the observation of the activity of animals. This regulating principle distinguishes itself from the rule of resemblance established by the appearances and fossil remains of animals, which is linear, incomplete, and digressive. In the light of Michel Foucault, the transition from the visible to the invisible recoups the study of nature from the living beings (les êtres vivants) to the life itself (la vie), from natural philosophy to biology. My study suggests that we recast Uexküll’s sign theory from his observations on the crux that models and triggers an animal to action in its Umwelt. Bracketing Uexküll’s transcendental configuration of form and image, we still find that schema, in itssensual and functional context, evolves from a reflection of the objects to a summary of their features plus an ignorance of their proper names. Uexküll's erasure of proper names (in different languages) that directs our attention to the presentation in its pure form (Gestalt) not only constitutes an important step in epistemology, but also in a life science that meticulously delves into the genotypes. (shrink)

Human development takes place in an ornamented – redundantly patterned and highly repetitive – world. The emergence of knowledge takes the form of episodic unpredictable synthetic events at the intersection of the fields of internal and external cultural meaning systems – through the mutually linked processes of constructive internalization and externalization. Patterns of decorations – ornaments – are relevant as redundant “inputs” into the internalization/externalization processes. Ornaments can be viewed not merely as "aesthetic accessories" to human activity contexts but as (...) holistic devices of cultural guidance of human conduct that acts through the subjectivity of personal feelings. This guidance is peripheral in its nature – surrounding the ordinary life activities with affectively oriented textures of cultural meanings. (shrink)

Cet ouvrage est consacre a l'etude de la distinction linguistique entre noms massifs (lait, mobilier, desordre, amour...) et noms comptables (chat, equipe, combat, chose...). Les premiers sont normalement invariables, tandis que les seconds s'emploient librement au singulier et au pluriel. Apres avoir etabli qu'il s'agit bien d'une distinction morpho-syntaxique, l'ouvrage discute la possibilite de caracteriser semantiquement cette distinction. Les recherches existantes ne tiennent compte, essentiellement, que des noms s'appliquant au domaine materiel. Ce travail, au contraire, examine en detail aussi bien (...) les noms concrets qu'abstraits. Il propose de redefinir les proprietes souvent attribuees aux noms massifs (references distributive et cumulative), grace, notamment, a une nouvelle notion de partie. Concernant les noms comptables, il montre qu'aucune propriete purement semantique n'est necessaire pour qu'un nom soit de ce type. L'ouvrage se termine par l'analyse des conversions (emplois massifs des noms comptables, et vice versa), et du role qu'y jouent les facteurs pragmatiques. (shrink)