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It seems necessary to introduce the basic concepts used in this article i.e. formalism, anti-formalism and moderate formalism. Formalists believe that the aesthetic appreciation of an art work generally involves an attentive awareness of its sensory or conceptual qualities and does not require knowledge about its non-perceptual properties. Anti-formalists on the hand hold that noon of the aesthetic properties in the work of art are formal. A number of philosophers have recently advocated a more moderate formalism. According to this view (...) |
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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 (...) |
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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: (...) |
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The main purpose of this article is, from a semiotic perspective, arguing for the recognizing of a semantic role of the imagination as a necessary condition to our linguistic experience, regarded as an essential feature of the relations of our thought with the world through signification processes ; processes centered in but not reducible to discourse. The text is divided into three parts. The first part presents the traditional position in philosophy and cognitive sciences that had barred until recent times (...) |
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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. |
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Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I (...) |
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We build on some of Daniel Dennett’s ideas about predictive indispensability to characterize properties of video games discernable by people as computationally emergent if, and only if: (1) they can be instantiated by a computing machine, and (2) there is no algorithm for detecting instantiations of them. We then use this conception of emergence to provide support to the aesthetic ideas of Stanley Fish and to illuminate some aspects of the Chomskyan program in cognitive science. |
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The systematic importance of the eidetic account of phantasy for Husserlian phenomenology in general is undisputed, but whether this account can be relevant for Aesthetics has often been put into question. In this paper I argue that Husserl’s rich phenomenology of phantasy, and in particular his account of perceptual phantasy, can nevertheless significantly enhance our understanding of how we recognize and imaginatively participate in artistic fictions. Moreover, I show how Husserl’s peculiar formulation of a non-intuitive phantasy at stake in artistic (...) |
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This paper discusses a counterexample to the thesis that visual experience is cognitively impenetrable. My central claim is that sometimes visual experience is influenced by the perceiver’s beliefs, rendering her experience’s representational content indeterminate. After discussing other examples of cognitive penetrability, I focus on a certain kind of visual experience— that is, an experience that occurs under radically nonstandard conditions—and show that it may have indeterminate content, particularly with respect to low-level properties such as colors and shapes. I then explain (...) |
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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 (...) |
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The central thesis (CT) that this paper upholds is that a picture depicts an object by generating in those who view the picture a visual experience of that object. I begin by presenting a brief sketch of intentionalism, the theory of perception in terms of which I propose to account for pictorial experience. I then discuss Richard Wollheim’s twofoldness thesis and explain why it should be rejected. Next, I show that the socalled unique phenomenology of pictorial experience is simply an (...) |
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Hallucinatory pictures are yet to be found picture-like artifacts that induce a hallucination of their content that cannot be intuitively explained by a look at the structure of the pictorial vehicle. Different accounts of depiction make different predictions about the possibility that such artifacts be considered as pictures. Some cases are presented that point towards the intuitive acceptability of hallucinatory pictures. |
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By analyzing descriptions of illusory and nonillusory figures, Richer called into question the common assumption that illusory and nonillusory perceptions were experientially the same and differed only in terms of their accuracy. The present study attempted to replicate Richer's work with a focus on identifying within the subjects' descriptions any orienting attitudes corresponding to these two forms of perception. Nineteen student volunteers were asked to describe two illusory figures and a nonillusory control of similar complexity. The descriptions revealed consistent differences (...) |
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In recent years, there have been some attempts to defend the legitimacy of a non-inductive generative logic of discovery whose strategy is to analyze a variety of constraints on the actual generation of explanatory hypotheses. These proposed new theories, however, are only weakly generative (relying on sophisticated processes of elimination) rather than strongly generative (embodying processes of correction).This paper develops a strongly generative theory which holds that we can come to know something new only as a variant of what we (...) |
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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 (...) |
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Quantum systems have a holistic structure, which implies that they cannot be divided into parts. In order tocreate (sub)objects like individual substances, molecules, nuclei, etc., in a universal whole, the Einstein-Podolsky-Rosen correlations between all the subentities, e.g. all the molecules in a substance, must be suppressed by perceptual and mental processes.Here the particular problems ofGestalt (shape)perception are compared with the attempts toattribute a shape to a quantum mechanical system like a molecule. Gestalt perception and quantum mechanics turn out (on an (...) |
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The use of language and images in the media may have a strong effect on people’s political cognition. In this regard, conspiracy theories and misinformation about the COVID-19 vaccine can lead to reluctant uptake of the vaccine even among medical staff. In two experiments, this article tests the hypothesis that the public’s willingness to get vaccinated against the novel coronavirus depends on the framings they are presented with. Two hundred thirty-two female Saudi students are exposed to either pro- or anti-vaccination (...) |
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The famous gulf between the arts and the sciences comes from the current pervasiveness of scientific illiteracy. The resultant increased fragmentation of science threatens scientific research; the resultant increase of the portion of the population of the advanced world that shows general ignorance of science threatens Western culture and democracy, and thus science itself. Historians and popularizers of science can help reduce this gulf. Introducing science historically can help solve many acute social and political problems. Historians of science can try (...) |
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Recent literature on the role of pictorial representation in the life sciences has focused on the relationship between detailed representations of empirical data and more abstract, formal representations of theory. The standard argument is that in both a historical and epistemic sense, this relationship is a directional one: beginning with raw, unmediated images and moving towards diagrams that are more interpreted and more theoretically rich. Using the neural network diagrams of Warren McCulloch and Walter Pitts as a case study, I (...) |
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I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to (...) |
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