- Submit
-
Browse
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- More
Switch to: References
Citations of:
Add citations
You must login to add citations.
|
|
|
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 (...) |
|
|
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 (...) |
|
|
Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity. |
|
|
|
|
|
A study of culturally-embedded perceptual responses to aesthetic value indicates that learned perceptual capacities can secure compliance with social norms. We should therefore resist the temptation to draw a line between cognitive processes, such as perception, that can adapt to differences in physical environments, and cognitive processes, such as economic decision-making, that are shaped by social norms. Compliance with social norms is a result of perceptual learning when that same compliance modifies perceptible features of the physical environment. |
|
|
Religious faith may manifest itself, among other things, as a mode of seeing the ordinary world, which invests that world imaginatively (or inspiredly) with an unseen depth of divine intention and spiritual significance. While such seeing may well be truthful, it is also unavoidably constructive, involving the imagination in its philosophical sense of the capacity to organize underdetermined or ambiguous sense date into a whole or gestalt. One of the characteristic ways in which biblical narratives inspire and teach is by (...) |
|
|
I can imagine a banana to be a phone receiver. I can also imagine the flapping of my arms to be flying. So it is possible to imagine one thing to be another—at least for some types of ‘things’. I will argue that although it is possible to imagine an object to be another object and it is also possible to imagine an activity to be a different activity, one cannot imagine one’s present sensory experience to be a different sensory (...) |
|
|
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 (...) |
|
|
Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn. |
|
|
The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic appreciation, according (...) |
|
|
This research discusses Bernard Williams' critique of utilitarianism. I will address Williams' well-known “Integrity Objection” and clarify where his main issue with utilitarianism lies. Through this, I will demonstrate that the separation of the two viewpoints – the “inside viewpoint” and the “impartial viewpoint” - is the issue, as the utilitarian impartial viewpoint does not capture the value of ethical deliberations based on our inside viewpoint in which we presuppose our personal projects. Furthermore, I will argue that this interpretation enables (...) |
|
|
Illusion is a significant concept in philosophy, art history, literary theory and aesthetics. It has a concrete scientific basis in the perspective of modern cognitive neuroscience. Historically, it has been critically discussed by many philosophers, including Plato, Bacon, Descartes, Kant, and Nietzsche, who considered it to be a distortion of reality. Yet illusion is connected with so many basic aesthetic issues -- such as ambiguity, imagination, and imagery -- that it remains an indispensable concept in modern aesthetics. In the different (...) |
|
|
Objectification involves treating someone as a thing. The role of images in perpetuating objectification has been discussed by feminist philosophers. However, the precise effect that images have on an individual's visual system is seldom explored. Kathleen Stock’s work is an exception—she describes certain images of women as causing viewers to develop an objectifying ‘gestalt’ which is then projected onto real-life women. However, she doesn’t specify the level of visual processing at which objectification occurs. In this paper, I propose that images (...) |
|
|
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 (...) |
|
|
Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) |
|
|
My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...) |
|
|
This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman. |
|
|
The aim of this article is to provide a plausible conceptual model of a specific use of images described as substitution in recent art-historical literature. I bring to light the largely implicit shared commitments of the art historians’ discussion of substitution, each working as they do in a different idiom, and I draw consequences from these commitments for the concept of substitution by image—the major being the distinction between nonportraying substitution and substitution by portrayal. I then develop an argument that (...) |
|
|
ABSTRACTAlthough philosophers have often insisted that specular perception is illusory or erroneous in nature, few have stressed the reliability and indispensability of mirrors as optical instrumen... |
|
|
|
|
|
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) (...) |
|
|
Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state. |
|
|
|
|
|
This dissertation defends the reliability of first-person methods for studying consciousness, and applies first-person experiments to two philosophical problems: the experience of size and of the self. In chapter 1, I discuss the motivations for taking a first-person approach to consciousness, the background assumptions of the dissertation and some methodological preliminaries. In chapter 2, I address the claim that phenomenal judgements are far less reliable than perceptual judgements (Schwitzgebel, 2011). I argue that the main errors and limitations in making phenomenal (...) |
|
|
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. |
|
|
A paper that explores the extent to which images remain resistant to their assimilation by the linguistic and technical systems that society has developed. It uses Damisch´s theory of /cloud/ to comment upon and refract Flusser´s notion of the technical image, proposing a productive incompleteness that the image continually feeds into our relationship to the world. With the image, laterality is as significant as linearity. Its form does not presuppose how it should be approached or understood; the provisionality heralded by (...) |
|
|
Natural resources are infinite. This is possible because humans can create theories whose potential goes beyond the limited imaginative capacity of the inventor. For instance, no number of people can work out all the economic potential of quantum theory. Economic Resources are created by an interaction of Karl Popper's Worlds 1, 2 and 3, the worlds of physics, psychology and the abstract products of the human mind, such as scientific theories. Knowledge such as scientific theories has unfathomable information content, is (...) |
|
|
|
|
|
What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) |
|
|
This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at face (...) |
|
|
List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) |
|
|
While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue (...) |
|
|
This inaugural handbook documents the distinctive research field that utilizes history and philosophy in investigation of theoretical, curricular and pedagogical issues in the teaching of science and mathematics. It is contributed to by 130 researchers from 30 countries; it provides a logically structured, fully referenced guide to the ways in which science and mathematics education is, informed by the history and philosophy of these disciplines, as well as by the philosophy of education more generally. The first handbook to cover the (...) |
|
|
This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...) |
|
|
The ArgumentThere can be no doubt about the moral and epistemological significance of what Shapin calls the “physical place” of the scientific laboratory. The physical place is defined by the locales, barriers, ports of entry, and lines of sight that bound the laboratory and separate it from other urban and architectural environments. Shapin's discussion of the emergence of the scientific laboratory in seventeenth-century England provides a convincing demonstration that credible knowledge is situated at an intersection between physical locales and social (...) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken. |
|
|
I defend a solution to a long-standing problem with perceptual appearances, brought about by the phenomenon of perceptual constancy. The problem is that in conditions which are non-ideal, yet within the range that perceptual constancy works, we see things veridically despite an “appearance” which is traditionally taken to be non-veridical. For example, a tilted coin is often taken to have an “elliptical appearance”, shadowed surfaces a “darker appearance”. These appearances are puzzling for a number of reasons. I defend and elaborate (...) |
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-56b8889cb4-zgnbz uwo