This article focuses on the difficulty for a general theory of depiction of providing a notion of pictorial content that accommodates the full diversity of picture types. The article begins by introducing two basic models of pictorial content using paradigmatic positions that maximize the ability of the respective models to deal with pictorial diversity. Kulvicki's On Images is interpreted as a generalized projection-based model which proposes a scene-centred notion of pictorial content. By contrast, Lopes's aspect-recognition theory, in Understanding Pictures, is (...) taken to exemplify a recognition-based model of pictorial content. It is then considered how applicable these two notions of pictorial content are to a spectrum of different picture types, highlighting differences between mechanically produced and “freehand” pictures. It is shown that while the projection-based and recognition-based models are each required for some picture types, neither model can be applied over the whole spectrum of diverse picture types. This, it is argued, has the far-reaching consequence that neither the projection model nor the recognition model, nor any unitary combination of the two, can provide the basis for a theory of depiction applying to all pictures. (shrink)

In this paper we start from the assumption that in a metaphor, or an analogy, some terms belonging to one domain (source domain) are used to refer to objects other than their conventional referents belonging to a possibly different domain (target domain). We describe a formalism, which is based on the First Order Predicate Calculus, for representing the knowledge structure associated with a domain and then develop a theory of Constrained Semantic Transference [CST] which allows the terms and the structural (...) relationships of the source domain to be transferred coherently across to the target domain. We show how metaphors and analogies can be characterized in CST in such a way that many of their cognitive properties con be explained.We then propose a theory of Approximate Semantic Transference [AST] which is a computational version of CST and is derived from it by replacing the coherency requirement with approximate coherency. We show how AST can be used as a basis for designing models of cognitive processes involved in comprehending metaphors and analogies. (shrink)

Este ensayo investiga el discurso global a la sombra de la década de 1960. Se basa en los puntos de vista de Nelson Goodman, Marshall McLuhan y Theodor W. Adorno para explorar tres conceptos centrales para la música en la época de la transmisión global: concordancia, corriente y virtualidad.

In his Logical Investigations Edmund Husserl criticizes John Stuart Mill’s account of meaning as connotation, especially Mill’s failure to separate the distinction between connotative and non-connotative names from the distinction between the meaningful and the meaningless. According to Husserl, both connotative and non-connotative names have meaning or “signification”, that is, what Gottlob Frege calls the sense (“Sinn”) of an expression. The distinction between connotative and non-connotative names is a distinction between two kinds of meaning (or sense), attributive and non-attributive meaning (...) (“attributive und nicht-attributive Bedeutung”). Attributive (connotative) names denote (refer to) objects through their attributes, whereas a non-attributive name means a thing directly (“direkt”). In this paper I examine the concepts of attributive and non-attributive meaning by means of the semiotic theory of Charles S. Peirce, and compare Peirce’s account with the views of Frege, Husserl, Alexius Meinong, and David Kaplan and Gareth Evans. (shrink)

Normal.dotm 0 0 1 50 252 Kansas State University 4 1 352 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} My task in this paper is twofold. On the one hand, I want to provide an account of Twardowski’s treatment of content , as can be found in his book Zur Lehre vom Inhalt und (...) Gegenstand der Vorstellungen (1894). On the other hand, I wish to make a suggestion about the kind of representationalist Twardowski was. Normal.dotm 0 0 1 19 98 Kansas State University 1 1 137 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} I will devote most of my attention to motivating Twardowski's theory. In conclusion I will provide a defense of the theory. (shrink)

Nelson Goodman's proposal for a reconception of meaning consists in replacing the absolute notion ofsameness of meaning by that oflikeness of meaning (with respect to pertinent contexts). According to this view, synonymy is a matter of degree (of interreplaceability) with identity of expression as a limiting case. Goodman's demonstration that no two expressions are exactly alike in meaning is shown to be unsuccessful. Although it does not make use of quotational contexts for the test of interreplaceability, it is tantamount to (...) their acceptance. Goodman rejects quotational contexts; I argue that they should be accepted. This move offers two advantages.Firstly, and mainly, it allows interlinguistic comparison of meaning, something that has not been deemed possible in the received version of Goodman's account.Secondly, it restores the full scale of likeness of meaning damaged by the renunciation of those contexts that guarantee difference in meaning for diverse expressions. (shrink)

(2013). Sport and Philosophy. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 10-29. doi: 10.1080/17511321.2013.761882.

This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) conflict; and that when this happens, compromising ideal score compliance for the sake of making the performance more interpretively authentic can make for a better performance. (shrink)

Sellars (1963) distinguished in Empiricism and Philosophy of Mind between ordinary discourse, which expressed his “manifest image”, and scientific discourse, which articulated his “scientific image” of man-in-the-world in a way that is both central and problematic to the rest of his philosophy. Our contention is that the problematic feature of the distinction results from Sellars theory of inner episodes as theoretical entities. On the other hand, as Sellars attempted to account for our noninferential knowledge of such states, particularly in correspondence (...) with Castañeda, discussed by Lehrer and Stern (2000), he is lead to account of representation of such states that incorporates the states into what Lehrer has called exemplar representation (2004, 2011a) and Ismael reflexive self-description (2007). What is common to the three accounts, with some differences, is that such states may be function reflexively in selfrepresentation. Our argument is that the elaboration of this account, suggested in Sellars, shows how the discourse of the manifest image can be transformed into the discourse of the scientific image as self-representations of scientific entities. (shrink)

Can the physicalist consistently hold that representational content is all there is to sensory experience and yet that two perceivers could have inverted phenomenal spectra? Yes, if he holds that the phenomenal properties the inverts experience are dummy properties, not instantiated in the physical objects being perceived nor in the perceivers.

Deviance is esteemed in the art world, and all great artists have broken with the traditions that preceded them and rebelled against their contemporaries. Yet in society deviance is more often than not condemned. Our apparently contradictory attitudes toward artistic and social deviance are explicable in light of the conservative nature of institutions and the nature of comprehensibility and psychiatry.

Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts (cf. list of secondary literature in the entry “Goodman’s Aesthetics” of Stanford Encyclopedia of Philosophy and Sect. 3 below). Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject. While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral tools. (...) One such technical notion is that of the density of symbol systems. This serves to distinguish linguistic symbols from pictorial representations (after Goodman entirely rejected resemblance in that role) and is a crucial part of Goodman’s explanation of what constitutes aesthetic experience (and so indirectly what is art). Thus its significance for Goodman’s theory is fundamental. The aim of this paper is a detailed, logical analysis of this notion. It turns out that Goodman’s definition is highly problematic and cannot be applied to symbol systems in the way Goodman envisaged. To conclude, Goodman’s theory is problematic not just because of its controversial theses but also because of logical problems with the technical notions used at its very core. Hence the controversial claims are not simply contestable, but inaccurately expressed. (shrink)

Exact sciences are described as sciences whose theories are formalized. These are contrasted to inexact sciences, whose theories are not formalized. Formalization is described as a broader category than mathematization, involving any form/content distinction allowing forms, e.g., as represented in theoretical models, to be studied independently of the empirical content of a subject-matter domain. Exactness is a practice depending on the use of theories to control subject-matter domains and to align theoretical with empirical models and not merely a state of (...) a science. Inexact biological sciences tolerate a degree of “mismatch” between theoretical and empirical models and concepts. Three illustrations from biological sciences are discussed in which formalization is achieved by various means: Mendelism, Weismannism, and Darwinism. Frege’s idea of a “conceptual notation” is used to further characterize the notion of a form/content distinction. (shrink)

There is an important hemispheric distinction in the functional organization of prefrontal cortex (PFC) that has not been fully recognized and explored. Research with split-brain patients provides considerable evidence for a left hemisphere (LH) “interpreter” that abhors indeterminacy and automatically draws inferences to complete patterns (real or imaginary). It is suggested that this “interpreter” function may be a byproduct of the linguistic capabilities of the LH. This same literature initially limited the role of the right hemisphere (RH) to little more (...) than visual organization. Recent reviews have garnered evidence for several different roles for the right PFC in reasoning, problem solving, and decision-making. We here focus on the beneficial but neglected role of indeterminacy in real-world problem solving and argue that the right PFC complements the left PFC “interpreter” by maintaining, and even enhancing indeterminacy. Successful real-world functioning is a delicate balancing act between these two systems. (shrink)

We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, (...) we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. (shrink)

Critica discussion of Pasquale Frascolla, Tractatus Logico-Philosophicus. Introduzione alla lettura, Carocci, Roma, 2000, 322 pp.

I argue that if we make explicit the role of the user of scientific representations not only in the application but also in the construction of a model or representation, then inconsistent modeling assumptions do not pose an insurmountable obstacle to our representational practices.

This text focuses from a philological perspective on media theories and their impact on traditional text-based disciplines. Therefore it looks at the problems that have emerged for Media Studies as well as for traditional studies in philology when reflecting on the concept of self-reference, since their subjects can seemingly no longer rely on the purity of the written word. If research work in the field of humanities is still mainly documented by texts, how does the advance of images as a (...) challenging research subject affect the text that is referring to that subject? Speaking in media terms: how is the medium `text', which still remains text when it is concerned with the medium `image', affected by the `other' medium? This question deals with the problem of self-reference, hence the construction of disciplinary limitations in various academic fields. Beginning with this question, I try to find out how the difference between self-reference and reference has been and still is being organized in texts. How can we compare different types of theorizing images in texts? These abstract problems will be exemplified by situating the word—image bias in a wider historical context. The text concludes by developing some possibilities for future research within this area of visual culture and academic writing. (shrink)

The aim of this paper is to engage with the interplay between representational content and design in chemistry and to explore some of its epistemological consequences. Constraints on representational content arising from the aspectual structure of representation can be manipulated by design. Designs are epistemologically important because representational content, hence our knowledge of target systems in chemistry, can change with design. The significance of this claim is that while it has been recognised that the way one conveys information makes a (...) difference to the inferences one can draw from representations in spite of the invariance of informational content, the present paper argues that in chemistry and biochemistry it is often the case that designs have cognitive priority relative to informational content. (shrink)