The comment addresses central issues of a "theory theory" approach as exemplified in Gopnik' and Goldman's BBS-articles. Gopnik, on the one hand, tries to demonstrate that empirical evidence from developmental psychology supports the view of a "theory theory" in which common sense beliefs are constructed to explain ourselves and others. Focusing the informational processing routes possibly involved we would like to argue that his main thesis (e.g. idea of intentionality as a cognitive construct) lacks support at least for two reasons: (...) one methodological and one structural. On the other hand, Goldman raises an important question when he is asking how people ascribe mental states to themselves. Reasons why Goldman's attempt to understand common sense mental representations by using an analogy from visual perception is problematic are discussed. The role which is attributed to a phenomenology is evaluated. (shrink)

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

Dem Alltagsverständnis zufolge bringt uns die Wahrnehmung in einen Kontakt mit der Wirklichkeit. Die Stabilisierung der Wahrnehmungsgewissheit ist tief im subjektiven Bildungsprozess verankert, hat sich alltagspraktisch bewährt und in der Sprache sedimentiert. Andererseits hat sich durch Erfahrungen kultureller Diversität und sozialer Differenz auch die Auffassung verbreitet, dass die Welt nur gleichsam durch die Brille spezifischer Herkünfte und Zugehörigkeiten wahrgenommen wird. Die Spannung zwischen realistischen und konstruktivistischen Interpretationen des menschlichen Weltbezugs bildet die Ausgangssituation, mit der sich die Beiträge zu dem geplanten (...) Sammelband In Kontakt mit der Wirklichkeit. Interdisziplinäre Beiträge zur Situiertheit der Wahrnehmung auseinandersetzen. Ziel ist es, die Wahrnehmungsgewissheit des direkten Realismus zu verteidigen, ohne die berechtigten Einwände außer Acht zu lassen. Nicht nur der Begriff der Wahrnehmung wird dabei einer grundlegenden Prüfung unterzogen, sondern auch der Begriff der Wirklichkeit und mit ihm ein angemessenes Verständnis davon, als leiblich verkörperte Individuen in einer gemeinsam geteilten Welt zu sein. (shrink)

Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) of aesthetic diversity, and they engage in a collective dialogue about these issues. (shrink)

It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of rule have (...) divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

Mise en abyme is a term from literary theory denoting a work that doubles itself within itself, for example a story placed within a story or a play within a play. Proliferating in experimental fiction in midcentury France, this technique had a strong impact on contemporary literary theory, but also, as this book project argues, on post-Heideggerian and post-structuralist philosophy. The Little Crystalline Seed focuses on how three of these thinkers invoke the concept of mise en abyme in order to (...) establish ontologies that deviate from that of Heidegger. Iddo Dickmann demonstrates how the concept served in modeling Derrida's logic of supplementarity, Blanchot's philosophy of "ambiguity" and mechanism of Désouvrement, and Deleuze's philosophy of difference, time and repetition. Exploring the interpretative and generative potential of the mise en abyme for continental thought, Dickmann illustrates points of resonance between various philosophical topics such as aesthetics, ethics, time, logic, mirroring, play, and signification. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Tracing the broad outline of European art history means presenting the different methods considered essential to the formation of this discipline. Historiographical research arrives quite naturally at a criticism of the methods themselves and at a search for a broader horizon.To the extent that the historian is involved with the thinking and the problems of his age, his methods reveal personal and conjunctural concepts and ideas which will guide the reflections of his successors ; these successors will modify and correct (...) the concepts received in order to adapt them to new experiences and questions. Or they will add others which are more apt to supply the answers sought. The means of analysing art history today are the fruit of four centuries of discussion during which certain normative criteria, traditional theories and underlying concepts were called into question while at the same time, though being sometimes exported to other areas of the world, they have demonstrated a tenacious degree of longevity. But perhaps a brief recapitulation might be helpful here. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Guthrie contends that religion can best be understood as systematic anthropomorphism - the attribution of human characteristics to nonhuman things and events. Religion, he says, consists of seeing the world as human like. He offers a fascinating array of examples to show how this strategy pervades secular life and how it characterizes religious experience.

This article argues that paintings have a nonconceptual content unlike that of mechanically produced images. The first part of the article outlines an information-theory approach modelled on the camera and based on the idea that pictures convey information about what they depict. Picture structure is conceived of as contentful by virtue of a supposed causal link with what is depicted and as nonconceptual because it is independent of observers’ understanding. The second part introduces an embodied depiction approach based on Merleau-Ponty’s (...) view of style and the act of painting. It is argued that because of bodily mediation the nonconceptual content of paintings cannot be assimilated to the information-theory approach; painted configurations are contentful by virtue of being the product of intelligent activity, but are nonconceptual because they differ from concepts in their representational function. (shrink)

This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that (...) of the properties of usage associated with signs. In Section 2 we illustrate these ideas with a case study of diagrammatic representation: the evolution from Euler diagrams to Venn diagrams. Section 3 is correspondingly devoted to pictorial representation, illustrated by the comparison between parallel and linear perspective drawing. We conclude with open questions, and then briefly summarize the articles to follow. (shrink)

Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting,...

Whether the word ‘passion’, as indicating the suffering or affection from without of a soul, is by now no more than a dead metaphor, surviving from an antique conception of the mind; whether, indeed, there is any way open to us of determining the passivity or otherwise of our inner life, apart, that is, from how it strikes us, from how we are prompted to describe it, are not questions that I can take up this evening. It is enough for (...) my purpose that for much of the time our feelings, our emotions, our inclinations are as fluctuating or as imperious as if they were not totally under our control. We are elated: we are dejected: we get angry, and then our anger gives place to a feeling of absurdity: we remain in love with someone who is lost to us but whom we cannot renounce: we are interested in something, and suddenly we are bored, or frightened that we will be bored: we see a stranger, someone who is nothing to us, who is poor or crippled, and we feel guilt: someone does something wrong or foolish, and we are unaccountably transported by laughter, by ‘sudden glory’ as Hobbes called it, knowing what it was about, and then, as unaccountably, we are thrown down. Man is, in Montaigne's famous phrase, une chose ondoyante, a creature of inner change and fickleness. (shrink)

The illustrated anatomical works of Andreas Vesalius, now icons of medical history, exemplified Renaissance humanists' attitudes toward the human condition. Methods of teaching medical students gross anatomy have evolved from the attitudes and methods of Renaissance scientist-scholars. The work of Vesalius is crucial to understanding the revolution in early modern medicine, for not only is it devoted to minute observation and exploration of the human body, but also to translating new knowledge by means of art. In the process of illustration, (...) the cadavers become ennobled, leading the viewer to contemplation of the nature of our common humanity. It is the thesis of this paper that the merging of art and science achieved in the great anatomical studies of the 16th and 17th centuries may still be useful in the education of medical students by allowing a balance between scientific detachment and compassion. (shrink)

Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her 2003/12 (...) book Aesthetics of Installation Art Juliana Rebentisch challenges this binary characterization of autonomous/non-autonomous art. She argues that aesthetic autonomy is not something that can be guaranteed by production, but rather is explicable only with reference to the structure of the aesthetic experience. And for Rebentisch, while installation art has not led to fundamentally different conditions of reception, it has led to an ideological rejection of the notion of context-independent art. Aesthetic autonomy is here not abandoned, but rather reconfigured as a dynamic operational with respect to the ethical and political situation where we encounter the artwork. Sympathetic to the broad remit of Rebentisch’s argument, this article investigates the role of the beholder’s share within the context of such situated art. I draw specifically on Wolfgang Iser’s transformation of a negative aesthetics from binaries of negation/affirmation into an enabling structure where the organization of signifiers serve not the designation of a signified object, but rather designate instructions for the production of the signified. This requires work of the situated beholder, who must negotiate access to the work’s content by bringing her orientation into play. Installation art, thus conceived, constitutes a space that while virtualized – removed from functional imperatives – compels acts of imagination/ideation by problematizing our habitual dispositions. (shrink)

Morphogenesis is one of the fundamental processes of developing life. Gastrulation, especially, marks a period of major translocations and bustling rearrangements of cells that give rise to the three germ layers. It was also one of the earliest fields in biology where cell movement and behaviour in living specimens were investigated. This article examines scientific attempts to understand gastrulation from the point of view of cells in motion. It argues that the study of morphogenesis in the twentieth century faced a (...) major dilemma, both epistemological and pictorial: representing form and understanding movement are mutually exclusive, as are understanding form and representing movement. The article follows various ways of modelling, imaging, and simulating gastrular processes, from the early twentieth century to present-day systems biology. The first section examines the tactile modelling of shape changes, the second cell cinematography, mainly the pioneering work of the German embryologists Friedrich Kopsch and Ernst Ludwig Gräper in the 1920s but also a series of classic, yet not widely known, studies of the 1960s. The third section deals with the changes that computer simulation and live-cell imaging introduced to the modelling of shape change and the study of cell movement at the turn of the twenty-first century. Although live-cell imaging promises to experiment upon and represent the living body simultaneously, I argue that the new visuals are an obstacle rather than a solution to the puzzle of understanding cell motion. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...) the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

This study reviews research about the recognition of one’s own face and discusses scientific techniques to investigate differences in brain activation when looking at familiar faces compared to unfamiliar ones. Our analysis highlights how people do not possess a perception of their own face that corresponds precisely to reality, and how the awareness of one’s face can also be modulated by means of the enfacement illusion. This illusion allows one to maintain a sense of self at the expense of a (...) precise discrimination of self-face. The internal dynamics of different brain processes, associated with the construction of bodily identity and the sense of self and capable of integrating signals from different sensory channels, particularly visual and tactile, create a mirror-mask effect. According to this effect, the self-face reflected by a mirror becomes a mask for the self, which has the features of the subject’s face, but nonetheless does not correspond perfectly to its characteristics. This poses interesting questions about the nature and construction of one’s self, as self-face reflections allow the mind to mediate between analogue and virtual reality, between past and future events, between memories and plans of action and, most importantly, between beliefs about our identities. (shrink)

Some people have stressed that there is a close analogy between meaning experiences, i.e., experiences as of understanding concerning linguistic expressions, and seeing-in experiences, i.e., pictorial experiences of discerning a certain item – what a certain picture presents, viz. the picture’s subject – in another item – the picture’s vehicle, the picture’s physical basis. Both can be seen as fusion experiences, in the minimal sense that they are experiential wholes made up of different aspects. Actually, two important similarities between such (...) experiences may lead one to think that they are experiences of the same type. In this paper, however, I will try to show that notwithstanding such similarities, these experiences are typologically different. For there are two dissimilarities between such experiences that are more relevant on this typological concern than their similarities. Indeed, unlike meaning experiences, seeing-in experiences are first of all recognitional experiences of a sort that makes them perceptual experiences as well. Moreover, again unlike meaning experiences, seeing-in experiences are fusion experiences in the substantial sense that the experiential whole is more than the sum of its experiential parts taken in isolation, for when such parts figure in that whole, they interact with each other. In a nutshell, unlike meaning experiences, seeing-in experiences are proper fusion experiences. (shrink)

The libertarian attribute of Thaler and Sunstein’s nudge theory (Nudge: improving decisions about health, wealth, and happiness. Yale University Press, New Haven, 2008) is one of the most important features for its candidature as a new model for public policy-making. It relies on the reversibility of choices made under the influence of nudging. Since the mind is articulated into two systems, the choice taken by System 1 is always reversible because it can be overridden by the deliberative and corrective role (...) of System 2. This article does not aim to criticise the whole theory of nudge and neither to assess its practical efficacy as a policy-making tool. Rather it intends to show that there are doubts that the specific claim of reversibility is correct for a subset of nudges called “System 1 nudges” (Sunstein in The ethics of influence, Cambridge University Press, Cambridge, 2016). And that therefore, in this case, the libertarian claim seems little justified. The thrust of my argument contests the truth of the main pillar of the libertarian claim, namely the dual-process theory of mind. I will show that even the minimal version of dual reasoning, namely the Type 1 and Type 2 processes proposed by Evans and Stanovich (Perspect Psychol Sci 8(3):223–241, 2013), is weakened by psychological and neural data. (shrink)

Summary This article stages a confrontation between latent nominalist attitudes about inherent expression in perception—physiognomy—and new affective modes. In a classic analysis, Gombrich warned of the lack of veridicality of physiognomic perception, a sentiment endorsed by postmodern theories. At the same time, affect theory affirms a level of directly available intensities. Using the example of Rudolf Arnheim, it can be seen that the two are really specular opposites of each other, each merely valorizing different poles of the affect-cognition scale. Arnheim’s (...) Gestalt theory shows how immediate percepts can have a generic structure, which is differentiated with further acquaintance. Arnheim, however, shows how perception can never account for all the power of expressive seeing. Perception and cognition is always embedded in a social matrix. Using an example of racist antisemitic propaganda used by Gombrich, the political implications of Arnheim’s position are demonstrated. (shrink)

Within cultural history there is a widespread eschewal of speculative reasoning. This article notes the complicity of the general postmodern avoidance of metanarratives with Anglo-Saxon empiricism and locates the major problem facing cultural history in postmodernism's conflation of trajectories and teleologies. Any discussion of the directionality of history is imputed to be a full-blown teleology. Using previous discussions from different fields, the difference between a teleology and trajectory is defended and, after clarifying certain confusions, it is argued that trajectories, as (...) following the working of generative mechanisms, are necessary to theorize in order to make interesting progress within the field of cultural history. (shrink)

The two most common names to invoke for a perceptualist aesthetics are Rudolf Arnheim and E. H. Gombrich. But the similaritied and differences between them have never been explicitly drawn. This paper undertakes such an analysis based on the three categories of representation, expression and historical objectivity. Arnheim's less stringent solutions to the problems of representation and expression are applauded but Gombrich's unique attempt to ground both of these categories in a form amenable to non-historicist approach to history are also (...) praised. Gombrich's anti-historicism derives from Karl Popper and Arnheim is fleshed out with the theories of Maurice Mandelbaum. The parallel comparison of Popper-Mandelbaum helps to underscore differences and show an alternative to Gombrich and Popper's nominalism. (shrink)

A commentary on a target article by Alison Gopnik (1993) How we know our minds: the illusion of first-person knowledge of intentionality. Focusing on evidence of how children acquire a theory of mind, this commentary argues that there are internal inconsistencies in theories that both argue for the functional role of conscious experiences and the irreducibility of those experiences to third-person viewable information processing.

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

In some circumstances, scientists of the same discipline visualize and view differently the same scientific object. The question of representational difference , which has usually been connected to scientific revolutions or controversies, is framed here using the concept of “style,” addressing the plurality of scientific traditions within a well-established scientific field. Using ethnomethodology we will examine the divergences of representational practices that, beyond the apparent consensus of a scientific community, are present throughout the procedure of chromosomes preparation. The ethnographic data (...) was gathered through participant observation and in-depth interviews in several Italian clinical cytogenetic laboratories. The concept of style emerges through the examination of the two alternate, and sometimes conflicting, ways of configuring the complex texture of practice, instrumental mediation, epistemic virtues, and expertise involved in scientific representation of chromosomes. Resonating with the recent debate on objectivity, it tries to articulate the concept of “epistemic virtue” outside an internalised scientific self through an aesthetic, analytical, instrumental, and ontological preferences in the current manners to produce and see the same research object. (shrink)

In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, (...) imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance.... (shrink)

How does a picture teach a viewer to look at it, understand it, and make meaning?. “Cross-mediality and narrative textual form: A semiotic snalysis of the lexical and visual signs and codes of the picture bnook.” Semiotica, 118 : 1–70 and Peter Pericles Trifonas.. “Texts and images.” In International handbook of semiotics, Vols. 1&2, edited by Peter Pericles Trifonas. The Netherlands: Springer. Pp. 1139–1154.) The suggestion for a pictorial grammar has been derived from the fact that pictures have no unique (...) visual metalanguage and therefore require recourse to language as an instrument for pictorial analysis. The lexical-visual relationship in a text is more complex than is suggested in the question. Proponents for the semiotic autonomy of pictures have objected that the commentaries of crossmedial contexts have not asserted the semiotic priority of the lexical over the visual message. ‘Is an autonomous semiotics of visual perception possible, or does the semiotic analysis of pictorial text always require recourse to the model of language?’. (shrink)

In recent years a number of writers have defended and attacked various features of structural, or neo-realist theories of international politics. Few, however, have quarrelled with one of the most foundational features of neorealist theory: its assumptions about the nature of science and scientific theories. In this essay I assess the views of science underlying much neorealist theory, especially as they are articulated in the work of Kenneth Waltz. I argue not only that neorealist theories rest on assumptions about science (...) and theory that have been questioned by postpositivist philosophers and historians of science, but also that the failure to consider the work of these writers yields theories of international politics that are deficient in several respects: they are weak theories in the sense that they cannot illuminate crucial features of international politics, they presuppose and sustain a narrow view of power and power relations, they reify practices and relations in the international arena and they offer little promise of producing the sort of Copernican Revolution for which Waltz called (or, more modestly, even a minimally satisfactory theory of international politics). In light of these shortcomings, I sketch an alternative approach to the study of international affairs, one that has been termed prototype studies. I contend that such an approach provides scholars with a rigorous way of studying international politics, without being a theoretical science. (shrink)