This essay raises a challenge for the perceptual theory of emotion. According to the perceptual theory, emotions are perceptual states that represent values. But if emotions represent values, something should explain why. In virtue of what do emotions represent the values they do? A psychosemantics would answer this, and that’s what the perceptual theorist owes us. To date, however, the only perceptual theorist to attempt a psychosemantics for emotion is Jesse Prinz. And Prinz’s theory, I argue, faces an important difficulty: (...) It makes the pairing of any given emotion with its respective value entirely arbitrary. But that’s a problem. It seems—and this is a major contention of this essay—that an emotion, in virtue of how it feels, bears a natural or non-arbitrary link to the value it represents. And this datum makes it all the more difficult to provide a viable psychosemantics for the evaluative content of emotion. (shrink)

I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (like ????) I (...) analyze as a difference between truth-conditional and use-conditional pictorial content: ???? depicts what the world of evaluation looks like, while ???? depicts what the utterance context looks like. (shrink)

This paper develops a theory of analog representation. We first argue that the mark of the analog is to be found in the nature of a representational system’s interpretation function, rather than in its vehicles or contents alone. We then develop the rulebound structure theory of analog representation, according to which analog systems are those that use interpretive rules to map syntactic structural features onto semantic structural features. The theory involves three degree-theoretic measures that capture three independent ways in which (...) a system can be more or less analog. We explain how our theory improves upon prior accounts of analog representation, provides plausible diagnoses for novel challenge cases, extends to hybrid systems that are partially analog and partially symbolic, and accounts for some of the advantages and disadvantages of representing analogically versus symbolically. (shrink)

An ongoing philosophical discussion concerns how various types of mental states fall within broad representational genera—for example, whether perceptual states are “iconic” or “sentential,” “analog” or “digital,” and so on. Here, I examine the grounds for making much more specific claims about how mental states are structured from constituent parts. For example, the state I am in when I perceive the shape of a mountain ridge may have as constituent parts my representations of the shapes of each peak and saddle (...) of the ridge. More specific structural claims of this sort are a guide to how mental states fall within broader representational kinds. Moreover, these claims have significant implications of their own about semantic, functional, and epistemic features of our mental lives. But what are the conditions on a mental state's having one type of constituent structure rather than another? Drawing on explanatory strategies in vision science, I argue that, other things being equal, the constituent structure of a mental state determines what I call its distributional properties—namely, how mental states of that type can, cannot, or must co‐occur with other mental states in a given system. Distributional properties depend critically on and are informative about the underlying structures of mental states, they abstract in important ways from aspects of how mental states are processed, and they can yield significant insights into the variegation of psychological capacities. (shrink)

A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration here comes from recent (...) proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

The aim of this article is to investigate the roles of commutative diagrams (CDs) in a specific mathematical domain, and to unveil the reasons underlying their effectiveness as a mathematical notation; this will be done through a case study. It will be shown that CDs do not depict spatial relations, but represent mathematical structures. CDs will be interpreted as a hybrid notation that goes beyond the traditional bipartition of mathematical representations into diagrammatic and linguistic. It will be argued that one (...) of the reasons why CDs form a good notation is that they are highly mathematically tractable: experts can obtain valid results by ‘calculating’ with CDs. These calculations, take the form of ‘diagram chases’. In order to draw inferences, experts move algebraic elements around the diagrams. It will be argued that these diagrams are dynamic. It is thanks to their dynamicity that CDs can externalize the relevant reasoning and allow experts to draw conclusions directly by manipulating them. Lastly, it will be shown that CDs play essential roles in the context of proof as well as in other phases of the mathematical enterprise, such as discovery and conjecture formation. (shrink)

In this paper I ask what implicit attitudes tell us about our freedom. I analyze the relation between the literature on implicit attitudes and an important subcategory of theories of free will—self-disclosure accounts. If one is committed to such a theory, I suggest one may have to move to a more social conceptualization of the capacity for freedom. I will work out this argument in five sections. In the first section, I discuss the specific theories of free will that are (...) central to this paper. In the second section, I will show that implicit-bias research raises questions about people’s capacities to exercise free will. In the third section, I will consider how an individual may overcome these failures and argue that the individual ability for self-regulation is significantly limited. One could stop here and conclude that free will is a limited capacity. But I argue that this conclusion would be too hastily drawn. I will instead continue to ask what would be required for free will. By discussing how failures of free will are due to social structures and may be therefore repaired by changing social structures in section 4, I will arrive at an alternative conclusion about the capacity for free will in section 5. (shrink)

When interpreting the meanings of visual features in information visualizations, observers have expectations about how visual features map onto concepts (inferred mappings.) In this study, we examined whether aspects of inferred mappings that have been previously identified for colormap data visualizations generalize to a different type of visualization, Venn diagrams. Venn diagrams offer an interesting test case because empirical evidence about the nature of inferred mappings for colormaps suggests that established conventions for Venn diagrams are counterintuitive. Venn diagrams represent classes (...) using overlapping circles and express logical relationships between those classes by shading out regions to encode the concept of non-existence, or none. We propose that people do not simply expect shading to signify non-existence, but rather they expect regions that appear as holes to signify non-existence (the hole hypothesis.) The appearance of a hole depends on perceptual properties in the diagram in relation to its background. Across three experiments, results supported the hole hypothesis, underscoring the importance of configural processing for interpreting the meanings of visual features in information visualizations. (shrink)

The standard notion of iconicity, which is based on degrees of similarity or resemblance, does not provide a satisfactory account of the iconic character of some representations of abstract entities when those entities do not exhibit any imitable internal structure. Individual numbers are paradigmatic examples of such structureless entities. Nevertheless, numerals are frequently described as iconic or symbolic; for example, we say that the number three is represented symbolically by '3', but iconically by '|||'. To address this difficulty, I discuss (...) various alternative notions of iconicity that have been presented in the literature, and I propose two novel accounts. (shrink)

Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...) sequences of utterances, can be used to tell stories. Wordless picture books, comics, and film are cases in point. In this paper I pick up the project of providing a dynamic semantic account of pictorial story-telling, started by Abusch (2012) and continued by Abusch & Rooth (2017); Maier & Bimpikou (2019); Fernando (2020). More specifically, I propose here a semantics of speech and thought bubbles by adding event reference to PicDRT. To get there I first review the projection-based semantics for pictures (section 1), noting the fundamental distinction between symbolic and iconic meaning that makes speech bubbles especially interesting (section 2). I then review the dynamic PicDRT framework for pictorial narratives (section 3), add events (section 4), and propose an account of speech bubbles as quotational event modification (section 5). I end with a brief look at other conventional, symbolic enrichments in comics (section 6). (shrink)