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)

In Section 5 of his interesting article, Goldman suggests that the consideration of imaginary cases can be valuable in the analysis of our psychological concepts. In particular, he argues that we can imagine a system that is isomorphic to us under any functional description, but which lacks qualitative mental states, such as pains and color sensations. Whether or not such a being is empirically possible, it certainly seems to be logically possible, or conceptually coherent. Goldman argues from this possibility to (...) the conclusion that our concepts of qualitative mental states cannot be analyzed entirely in functional terms. (shrink)

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. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

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 (...) recourse to symbol systems. Together, the twin principles of hypothetical verity and aspectival absolutism constitute a theory of realism able to account for realistic fictional entities, the problem of revelatory realism and images that teach new information. (shrink)

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 (...) substitution by image in the desired, nonportraying sense needs to be thought of in terms of a figurative representation of an image’s subject as a generic object, what I will call its figurative instantiation. (shrink)

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...

In this article, I argue that consciousness is a unique way of processing information, in that: it produces information, rather than purely transmitting it; the information it produces is meaningful for us; the meaning it has is always individuated. This uniqueness allows us to process information on the basis of our personal needs and ever-changing interactions with the environment, and consequently to act autonomously. Three main basic cognitive processes contribute to realize this unique way of information processing: the self, attention (...) and working memory. The self, which is primarily expressed via the central and peripheral nervous systems, maps our body, the environment, and our relations with the environment. It is the primary means by which the complexity inherent to our composite structure is reduced into the “single voice” of a unique individual. It provides a reference system that (albeit evolving) is sufficiently stable to define the variations that will be used as the raw material for the construction of conscious information. Attention allows for the selection of those variations in the state of the self that are most relevant in the given situation. Attention originates and is deployed from a single locus inside our body, which represents the center of the self, around which all our conscious experiences are organized. Whatever is focused by attention appears in our consciousness as possessing a spatial quality defined by this center and the direction toward which attention is focused. In addition, attention determines two other features of conscious experience: periodicity and phenomenal quality. Self and attention are necessary but not sufficient for conscious information to be produced. Complex forms of conscious experiences, such as the various modes of givenness of conscious experience and the stream of consciousness, need a working memory mechanism to assemble the basic pieces of information selected by attention. (shrink)

Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...) Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly. (shrink)

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.

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

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 (...) universally applicable, and infinitely copyable. The point can be made with technological knowledge such as that embodied in the wheel. The theory of the wheel has un- bounded potential to be embodied in unforeseeable new technologies, is useful on the Moon as on Earth, and can be infinitely copied. Unlike a piece of land (using fixed factors), such knowledge shows increasing returns. This helps to explain Julian Simon's observation that "natural" resources are now less scarce than they used to be and why an increasing population can increase resources in the long-run. It was Simon's breakthrough to elaborate on the abstract character of "natural" resources. I further explore this abstract character and thereby explain why natural resources are infinitely expandable. Economic growth and the creation of natural resources depends on the rate of invention. F. Machlup's suggestion (Machlup 1962) that the opportunity for new inventions increases geometrically with the number of inventions at hand is acknowledged for its suggestiveness, but criticised for its conservative position. Frank Tipler's fascinating argument for indefinite economic growth (Tipler 1994), is reinforced by my argument by making a distinction between information in the engineer's sense and the infinite potential "information" in our scientific knowledge based on Popper's notion of information content. (shrink)

Richard Cytowic has argued that synesthetic experimentation by modern artists was based on deliberate contrivances of sensory fusion and not on involuntary experiences of cross-modal association. He has placed artistic experiments with sensory fusion outside the domain of synesthesia research. Artistic experiments, though historically interesting, are considered irrelevant for the study of synesthesia. Contrary to this view I argue that at least Scriabin's and Kandinsky's artistic experiments were based on involuntary experiences of synesthesia. They were investigating perceptual and emotional mechanisms (...) of involuntary synesthetic experiences that meet Cytowic's criteria of synesthesia. Artistic experiments are not only historically interesting, but may also contribute to present synesthesia research. (shrink)

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)

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

The claim that similarity plays a role in representation has been philosophically discredited. Psychologists, however, routinely analyse the success of mental representations for guiding behaviour in terms of a similarity between representation and the world. I provide a foundation for this practice by developing a philosophically responsible account of the relationship between similarity and representation in natural systems. I analyse similarity in terms of the existence of a suitable homomorphism between two structures. The key insight is that by restricting attention (...) to only those homomorphisms induced by causal processes, we can solve two philosophical problems with a single assumption. First, causal structure provides an adequate source for the bias required to ensure the similarity relation is non-trivial; second, it provides an adequate source for the directionality required to move from similarity to representation. I defend this account against objections by Goodman and van Fraassen and demonstrate that it is indeed the account of similarity’s role in representation assumed by psychological practice. (shrink)

There are two distinct interpretations of the role that Feynman diagrams play in physics: (i) they are calculational devices, a type of notation designed to keep track of complicated mathematical expressions; and (ii) they are representational devices, a type of picture. I argue that Feynman diagrams not only have a calculational function but also represent: they are in some sense pictures. I defend my view through addressing two objections and in so doing I offer an account of representation that explains (...) why Feynman diagrams represent. The account that I advocate is a version of that defended by Kendall Walton, which provides us with a basic characterization of the way that representations in general work and is particularly useful for understanding distinctively pictorial representations - in Walton's terms, depictions. The question of the epistemic function of Feynman diagrams as pictorial representations is left for another time. (shrink)

Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object (...) recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention. (shrink)

The central mission of cognitive science is to reveal the real nature of the mind, however familiar or foreign that nature may be to naive preconceptions. The existence of naive conceptions is also important, however. Prescientific thought and language contain concepts of the mental, and these concepts deserve attention from cognitive science. Just as scientific psychology studies folk physics (McCloskey 1983, Hayes 1985), viz., the common understanding (or misunderstanding) of physical phenomena, so it must study folk psychology, the common understanding (...) of mental states. This subfield of scientific psychology is what I mean by the phrase 'the psychology of folk psychology'. (shrink)

Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the (...) world about which we communicate. Increasingly, we are making a world that’s worth depicting, using the tools we now possess. This paper will unpack one example of this phenomenon, trompe l’oeil street art. More and more of this seems to be produced with the intention that it is seen primarily in pictures. It makes sense that anything someone makes, and wants to be seen, would be made with decent photography potential in mind. You want photos to be able to, as they say, do justice to your work no matter what kind of visual work you make. In these cases, however, the pictures of the work are reliably more interesting than the pieces seen in the flesh. (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)

Arnold Cusmariu ABSTRACT: Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a...

People tend to grossly overestimate the size of their mirror-reflected face. Although this overestimation bias is robust, not much is known about its relationships to self-face perception. In two experiments, we investigated the overestimation bias as a function of the presentation of the own face , the identity of the seen face, and prior exposure to a real mirror. For this we developed a computerized task requiring size estimations of displayed faces. We replicated the observation that people overestimate the size (...) of their mirror-reflected face and showed that the overestimation can be reduced following a brief mirror exposure. We also found that left–right reversal modulates the overestimation bias, depending on the perceived face’s identity. These data underline the enhanced familiarity of left–right reversed self-faces and the importance of size perception for understanding mirror reflection processing. (shrink)

Moving from the pages of Cahiers and Discours sur l' esthétique , where Paul Valéry clarifies the energetic value of aesthetics that rises from pleasure, the essay aims to promote a radical reconfiguration of conceptual domain of aesthetics. The sensation, in the surprising and gratifying form of pleasure, becomes expression of the efficiency of the link between emotional device and perceptive recognition: the thick and harmonizing synthesis that's peculiar to aesthetic.

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)

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)