In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

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 (...) value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (shrink)

Susanne K. Langer is best known as a philosopher of culture and student of Ernst Cassirer. In this chapter, however, I argue that this standard picture ignores her contributions to the development of analytic philosophy in the 1920s and 1930s. I reconstruct the reception of Langer’s first book *The Practice of Philosophy*—arguably the first sustained defense of analytic philosophy by an American philosopher—and describe how prominent European philosophers of science such as Moritz Schlick, Rudolf Carnap, and Herbert Feigl viewed her (...) as one of the most important allies in the United States. In the second half of this chapter, I turn to Langer’s best-selling *Philosophy in a New Key* and reconstruct her attempts to broaden the scope of the, by then, rapidly growing U.S. analytic movement. I argue that her book anticipated various developments in analytic philosophy but was largely ignored by her former colleagues. I end the chapter by offering some clues as to why New Key did not incite the same laudatory responses from analytic philosophers as her earlier work. (shrink)

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)

This paper constitutes a radical departure from the existing philosophical literature on models, modeling-practices, and model-based science. I argue that the various entities and practices called 'models' and 'modeling-practices' are too diverse, too context-sensitive, and serve too many scientific purposes and roles, as to allow for a general philosophical analysis. From this recognition an alternative view emerges that I shall dub model anarchism.

Enhancement technologies may someday grant us capacities far beyond what we now consider humanly possible. Nick Bostrom and Anders Sandberg suggest that we might survive the deaths of our physical bodies by living as computer emulations.­­ In 2008, they issued a report, or “roadmap,” from a conference where experts in all relevant fields collaborated to determine the path to “whole brain emulation.” Advancing this technology could also aid philosophical research. Their “roadmap” defends certain philosophical assumptions required for this technology’s success, (...) so by determining the reasons why it succeeds or fails, we can obtain empirical data for philosophical debates regarding our mind and selfhood. The scope ranges widely, so I merely survey some possibilities, namely, I argue that this technology could help us determine (1) if the mind is an emergent phenomenon, (2) if analog technology is necessary for brain emulation, and (3) if neural randomness is so wild that a complete emulation is impossible. (shrink)

Policymakers who seek to make scientifically informed decisions are constantly confronted by scientific uncertainty and expert disagreement. This thesis asks: how can policymakers rationally respond to expert disagreement and scientific uncertainty? This is a work of non-ideal theory, which applies formal philosophical tools developed by ideal theorists to more realistic cases of policymaking under scientific uncertainty. I start with Bayesian approaches to expert testimony and the problem of expert disagreement, arguing that two popular approaches— supra-Bayesianism and the standard model of (...) expert deference—are insufficient. I develop a novel model of expert deference and show how it can deal with many of these problems raised for them. I then turn to opinion pooling, a popular method for dealing with disagreement. I show that various theoretical motivations for pooling functions are irrelevant to realistic policymaking cases. This leads to a cautious recommendation of linear pooling. However, I then show that any pooling method relies on value judgements, that are hidden in the selection of the scoring rule. My focus then narrows to a more specific case of scientific uncertainty: multiple models of the same system. I introduce a particular case study involving hurricane models developed to support insurance decision-making. I recapitulate my analysis of opinion pooling in the context of model ensembles, confirming that my hesitations apply. This motivates a shift of perspective, to viewing the problem as a decision theoretic one. I rework a recently developed ambiguity theory, called the confidence approach, to take input from model ensembles. I show how it facilitates the resolution of the policymaker’s problem in a way that avoids the issues encountered in previous chapters. This concludes my main study of the problem of expert disagreement. In the final chapter, I turn to methodological reflection. I argue that philosophers who employ the mathematical methods of the prior chapters are modelling. Employing results from the philosophy of scientific models, I develop the theory of normative modelling. I argue that it has important methodological conclusions for the practice of formal epistemology, ruling out popular moves such as searching for counterexamples. (shrink)

It’s a platitude that a picture is realistic to the degree to which it resembles what it represents (in relevant respects). But if properties are abundant and degrees of resemblance are proportions of properties in common, then the degree of resemblance between different particulars is constant (or undefined), which is inconsonant with the platitude. This paper argues this problem should be resolved by revising the analysis of degrees of resemblance in terms of proportion of properties in common, and not by (...) accepting a sparse theory of properties or by denying that degree of realism is degree of resemblance (in relevant respects). (shrink)

This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations (...) are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister’s theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience, aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory’s explanatory capabilities. (shrink)

The volume includes twenty-five research papers presented as gifts to John L. Bell to celebrate his 60th birthday by colleagues, former students, friends and admirers. Like Bell’s own work, the contributions cross boundaries into several inter-related fields. The contributions are new work by highly respected figures, several of whom are among the key figures in their fields. Some examples: in foundations of maths and logic ; analytical philosophy, philosophy of science, philosophy of mathematics and decision theory and foundations of economics. (...) Most articles are contributions to current philosophical debates, but contributions also include some new mathematical results, important historical surveys, and a translation by Wilfrid Hodges of a key work of arabic logic. (shrink)

Topical Themes in Argumentation Theory brings together twenty exploratory studies on important subjects of research in contemporary argumentation theory. The essays are based on papers that were presented at the 7th Conference of the International Society for the Study of Argumentation in Amsterdam in June 2010. They give an impression of the nature and the variety of the kind of research that has recently been carried out in the study of argumentation. The volume starts with three essays that provide stimulating (...) theoretical perspectives on argumentation. Subsequently, some views are explained on the intriguing topics of ‘dissensus’ and ‘deep disagreement’. After a discussion of three different approaches to the treatment of types of argumentation some classical themes from antique argumentation theory are revisited. The new research area of visual argumentation is explored in the next part. The volume concludes with three reports of experimental studies concerning argumentative discourse. The volume starts with three essays that provide stimulating theoretical perspectives on argumentation. Subsequently, some views are explained on the intriguing topics of ‘dissensus’ and ‘deep disagreement’. After a discussion of three different approaches to the treatment of types of argumentation some classical themes from antique argumentation theory are revisited. The new research area of visual argumentation is explored in the next part. The volume concludes with three reports of experimental studies concerning argumentative discourse. The volume starts with three essays that provide stimulating theoretical perspectives on argumentation. Subsequently, some views are explained on the intriguing topics of ‘dissensus’ and ‘deep disagreement’. After a discussion of three different approaches to the treatment of types of argumentation some classical themes from antique argumentation theory are revisited. The new research area of visual argumentation is explored in the next part. The volume concludes with three reports of experimental studies concerning argumentative discourse. (shrink)

Desde una perspectiva matricial de la cultura, la autora aborda el estudio de las identidades sociales en su dimensión estética. La presentación dramatúrgica de la persona propuesta por Goffman adquiere un perfil más concreto al enfocar a las identidades a partir de sus procesos de gestación y proyección, pues nunca brotan en el vacío sino a través de matrices que ineludiblemente las conforman. Mandoki explora identidades colectivas religiosas como la cristiana, la musulmana y la judía, así como prácticas familiares, escolares, (...) artísticas y médicas donde la estética opera con todo su poder de seducción, repulsión, cohesión o distinción. Ello implica no sólo que cada sujeto despliega identidades diferentes según las matrices en que se ubique y con cuyos símbolos se identifica, sino que lo realiza por medio de estrategias estéticas que suministran la adherencia efectiva. (shrink)

Kolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.

In this contribution, I comment on Raffaella Campaner’s defense of explanatory pluralism in psychiatry (in this volume). In her paper, Campaner focuses primarily on explanatory pluralism in contrast to explanatory reductionism. Furthermore, she distinguishes between pluralists who consider pluralism to be a temporary state on the one hand and pluralists who consider it to be a persisting state on the other hand. I suggest that it would be helpful to distinguish more than those two versions of pluralism – different understandings (...) of explanatory pluralism both within philosophy of science and psychiatry – namely moderate/temporary pluralism, anything goes pluralism, isolationist pluralism, integrative pluralism and interactive pluralism. Next, I discuss the pros and cons of these different understandings of explanatory pluralism. Finally, I raise the question of how to implement or operationalize explanatory pluralism in scientific practice; how to structure the “genuine dialogue” or shape “the pluralistic attitude” Campaner is referring to. As tentative answers, I explore a question-based framework for explanatory pluralism as well as social-epistemological procedures for interaction among competing approaches and explanations. (shrink)

It is now part and parcel of the official philosophical wisdom that models are essential to the acquisition and organisation of scientific knowledge. It is also generally accepted that most models represent their target systems in one way or another. But what does it mean for a model to represent its target system? I begin by introducing three conundrums that a theory of scientific representation has to come to terms with and then address the question of whether the semantic view (...) of theories, which is the currently most widely accepted account of theories and models, provides us with adequate answers to these questions. After having argued in some detail that it does not, I conclude by pointing out in what direction a tenable account of scientific representation might be sought. (shrink)

Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought (...) to be caused by the presence of picturelike representations (mental images) in the mind, soul, or brain, but this is no longer universally accepted. (shrink)

I begin with a rather unpromising dispute that Nozick once had with Ian Hacking in the pages of the London Review of Books, in which both vied with one another in their enthusiasm to repudiate the thesis that some human people or peoples are closer than others to animality. I shall attempt to show that one can build, on the basis of Nozick’s discussion of rationality, a defense of the view that the capacity tor language places human rationality out of (...) reach of a comparison with animals. The difference rests, paradoxically, on the human capacity tor irratianality. Irrationality depends on the capacity tor language, which allows the detachment of explicit thoughts from their underlying dynamic implementation; these, in turn, condition the essential disputability of principles of rationality. That is what places every human potentially -- if not actually -- on the other side of an unbridgeable gulf that separates us from other animals. (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)

It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...) to aesthetic appreciation, because it is often the ground to judge of a work’s value. The second point will be that a functional analysis of surprise provides support for cognitivist accounts of aesthetics. If this picture is right, surprise would generally play an important part in aesthetic experience and should also be seen as a paradigm to study the cognitive powers of art. (shrink)

CAMILO, Bruno. Aspectos metafísicos na física de Newton: Deus. In: DUTRA, Luiz Henrique de Araújo; LUZ, Alexandre Meyer (org.). Temas de filosofia do conhecimento. Florianópolis: NEL/UFSC, 2011. p. 186-201. (Coleção rumos da epistemologia; 11). Através da análise do pensamento de Isaac Newton (1642-1727) encontramos os postulados metafísicos que fundamentam a sua mecânica natural. Ao deduzir causa de efeito, ele acreditava chegar a uma causa primeira de todas as coisas. A essa primeira causa de tudo, onde toda a ordem e leis (...) tiveram início, a qual para ele assume um caráter divino, Newton aponta para um Deus sábio e poderoso e responsável pela ordem inteligente e pela a harmonia das leis físicas e universais de tudo o que existe – Deus como criador e preservador da ordem do universo. Há ainda a analogia do conceito de Deus com o espaço e o tempo, na medida em que ambos comunicam infinitude e onipresença. Por fim, nas considerações finais apontarei a importância de Newton para a metafísica moderna e como os seus estudos contribuíram para uma visão posterior do universo e suas leis e do homem enquanto ser pensante. (shrink)

This book is about whether reference to an individual is the essential feature of a proper name -- a widely held view -- or whether referring to an individual is simply a contingent feature. Three questions need resolving, then. First, whether all names in particular contexts are themselves referring devices. Second, whether recognizing names types and the consequent issue of their ambiguity can be resolved simply by distinguishing between name types and tokens thereof. Last, whether names are ever referential in (...) the way Kripke and others have convincingly argued. The answer to first two questions is negative. The answer to third is a qualified "yes." I explain the theory that allows for these answers in the manuscript, as well as addressing other issues such as: the problem of fictional names; descriptive names; empty names; what an act of naming consists of; an account of ontological commitment; and the data that suggests that names are predicates. (shrink)

This short paper grew out of an observation—made in the course of a larger research project—of a surprising convergence between, on the one hand, certain themes in the work of Mary Hesse and Nelson Goodman in the 1950/60s and, on the other hand, recent work on the representational resources of science, in particular regarding model-based representation. The convergence between these more recent accounts of representation in science and the earlier proposals by Hesse and Goodman consists in the recognition that, in (...) order to secure successful representation in science, collective representational resources must be available. Such resources may take the form of (amongst others) mathematical formalisms, diagrammatic methods, notational rules, or—in the case of material models—conventions regarding the use and manipulation of the constituent parts. More often than not, an abstract characterization of such resources tells only half the story, as they are constituted equally by the pattern of (practical and theoretical) activities—such as instances of manipulation or inference—of the researchers who deploy them. In other words, representational resources need to be sustained by a social practice; this is what renders them collective representational resources in the first place. (shrink)

This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...) part. My disagreement, how ever, does not annul the evident quality of the argument in this w ork. It is recommended reading material for all those aestheticians w ho are interested in the cognitive and non-cognitive functionality of art w orks and in the possibility of any influence of art on societal change. I w ill now discuss the most crucial steps in Crow ther's argument. Postmodernists claim to have undone the alleged rigidity of modern categories, like that of the autonomous subject, but according to Crow ther they reach this `achievement' by overemphasizing the fluidity of modes of know ledge and experience, and of their status as social constructs, but there may w ell exist flexible constants. Aesthetics can help w ith the analysis of these flexible constants, not by looking for the essences of art or aesthetic experience, but by supplementing our theoretical assessments w ith a critique of art. Crow ther proposes to view aesthetic experiences as w ell as w orks of art as functions of critical aw areness and of body-hold, an historicized version of Merleau-Ponty's much neglected notion of embodiment. Critical aesthetics actualizes the critical aw areness involved in our aesthetic experiences. Art, defined in terms of originality, roots in the body-hold of the artist, w ho moulds his medium to solve technical problems traditional art forms confront him w ith. Postmodernism involves only tw o theses, really. First, contemporary experience and sensibility are analyzed as imbued by the shocks generated by the rapid succession of mechanically reproduced events.. (shrink)

This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...) this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

I defend a theory of mental representation that satisfies naturalistic constraints. Briefly, we begin by distinguishing (i) what makes something a representation from (ii) given that a thing is a representation, what determines what it represents. Representations are states of biological organisms, so we should expect a unified theoretical framework for explaining both what it is to be a representation as well as what it is to be a heart or a kidney. I follow Millikan in explaining (i) in terms (...) of teleofunction, explicated in terms of natural selection. -/- To explain (ii), we begin by recognizing that representational states do not have content, that is, they are neither true nor false except insofar as they both “point to” or “refer” to something, as well as “say” something regarding whatever it is they are about. To distinguish veridical from false representations, there must be a way for these separate aspects to come apart; hence, we explain (ii) by providing independent theories of what I call f-reference and f-predication (the ‘f’ simply connotes ‘fundamental’, to distinguish these things from their natural language counterparts). -/- Causal theories of representation typically founder on error, or on what Fodor has called the disjunction problem. Resemblance or isomorphism theories typically founder on what I’ve called the non-uniqueness problem, which is that isomorphisms and resemblance are practically unconstrained and so representational content cannot be uniquely determined. These traditional problems provide the motivation for my theory, the structural preservation theory, as follows. F-reference, like reference, is a specific, asymmetric relation, as is causation. F-predication, like predication, is a non-specific relation, as predicates typically apply to many things, just as many relational systems can be isomorphic to any given relational system. Putting these observations together, a promising strategy is to explain f-reference via causal history and f-predication via something like isomorphism between relational systems. -/- This dissertation should be conceptualized as having three parts. After motivating and characterizing the problem in chapter 1, the first part is the negative project, where I review and critique Dretske’s, Fodor’s, and Millikan’s theories in chapters 2-4. Second, I construct my theory about the nature of representation in chapter 5 and defend it from objections in chapter 6. In chapters 7-8, which constitute the third and final part, I address the question of how representation is implemented in biological systems. In chapter 7 I argue that single-cell intracortical recordings taken from awake Macaque monkeys performing a cognitive task provide empirical evidence for structural preservation theory, and in chapter 8 I use the empirical results to illustrate, clarify, and refine the theory. (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.

Članak tematizira ulogu kompleksnog mišljenja u razvoju znanstvene spoznaje i mišljenja općenito. Po Vigotskom, kompleksno mišljenje je početna faza u ontogenezi, pa i filogenezi, ljudskog mišljenja i ono je u tom slijedu predpojmovno. Prema istom autoru, ono ima svoju unutarnju genezu koja započinje asocijativnim kompleksima, a završava pseudopojmovima. Kompleksno mišljenje je po svojoj bitifluidno, neograničeno i omogućuje prenošenje značenja. Smatramo da kompleksno mišljenje dolazi do izraza prije svega u uporabi metafora i analogija. Metafore i analogije imaju važnu eksplanatornu i ponekad (...) čak heurističku ulogu u znanstvenom mišljenju. Kompleksno mišljenje dolazi do izražaja na svim razinama i etapama razvoja znanstvenog mišljenja. Metafore mogu biti dijelom kompleksnog mišljenja kao dominantnog načina mišljenja ili u pojmovnoj strukturi kao pomoćni elementi objašnjenja. Analogije predstavljaju izvjesno strukturiranje kompleksnog i pojmovnogmišljenja.Članak tematizira ulogu kompleksnog mišljenja u razvoju znanstvene spoznaje i mišljenja općenito. Po Vigotskom, kompleksno mišljenje je početna faza u ontogenezi, pa i filogenezi, ljudskog mišljenja i ono je u tom slijedu predpojmovno. Prema istom autoru, ono ima svoju unutarnju genezu koja započinje asocijativnim kompleksima, a završava pseudopojmovima. Kompleksno mišljenje je po svojoj bitifluidno, neograničeno i omogućuje prenošenje značenja. Smatramo da kompleksno mišljenje dolazi do izraza prije svega u uporabi metafora i analogija. Metafore i analogije imaju važnu eksplanatornu i ponekad čak heurističku ulogu u znanstvenom mišljenju. Kompleksno mišljenje dolazi do izražaja na svim razinama i etapama razvoja znanstvenog mišljenja. Metafore mogu biti dijelom kompleksnog mišljenja kao dominantnog načina mišljenja ili u pojmovnoj strukturi kao pomoćni elementi objašnjenja. Analogije predstavljaju izvjesno strukturiranje kompleksnog i pojmovnogmišljenja. (shrink)

This chapter provides an overview of the issues involved in recent debates about the epistemological relevance of emotions. We first survey some key issues in epistemology and the theory of emotions that inform various assessments of emotions’ potential significance in epistemology. We then distinguish five epistemic functions that have been claimed for emotions: motivational force, salience and relevance, access to facts and beliefs, non-propositional contributions to knowledge and understanding, and epistemic efficiency. We identify two core issues in the discussions about (...) such epistemic functions of emotions: First, even though it is plausible that emotions are involved in epistemic processes, it may be doubted whether they really matter for the normative question of what counts as knowledge or justified belief. Second, some of the epistemic functions claimed for emotions in general may only be attributed to some specifically epistemic emotions, which have been present all along in traditional epistemology, albeit under different labels such as ‘intuitions’. (shrink)

I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to argue that (...) proper appreciation of silence is a two-way street, involving quiet on the outside and stillness on the inside. I conclude by offering some suggestions for how to make the aesthetic appreciation of silence part of a flourishing life. (shrink)

The thesis proposes an account of the means of scientific representation focused on similarity, or more specifically, on the notion of “creative similarity”. I first distinguish between two different questions regarding the problem of representation: the question about the constituents and the question about the means of representation (following Suárez 2003; van Fraassen 2008). I argue that, although similarity is not a good candidate for constituent of representation, it can satisfactorily answer the question about the means of representation if adequately (...) characterized. To motivate this position, I dispute the main arguments offered against similarity as means of representation, namely the arguments from variety, vagueness, and misrepresentation, and contend that similarity plays a central epistemic role in practices of representing in science. The study of the role of similarity in scientific practice, I argue, requires the analysis of the uses of judgments of similarity in the construction of scientific models. I examine the cases of the Mississippi Basin Model and the San Francisco Bay Model to illustrate how judgments of similarity are directly involved in the production of epistemically fruitful models. Informed by the practical investigation developed throughout the thesis, I finally outline what I call the creative similarity account of the means of representation. The notion of “creative similarity” helps to capture the way in which similarity, as means of representation, intervenes in actual practices of representing, namely, in the form of a productive interplay of judgments of similarity and distortions (i.e. idealizations, abstractions, simplifications), which is employed by resourceful agents with the aim of understanding aspects of the natural world. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract (...) aspects of musical works, but treating the reified understanding of these aspects as if they are what makes musical works meaningful ignores the emergent and transitory aspects of our interactions with musical works as being inherently meaningful in and of themselves. Through a variety of ethnographic, phenomenological and narrative methods, this thesis aims to challenge the long-held notions of meaning construction within the field of analytical aesthetics. It also aims provide a conceptual framework with which composers can use to practically study, collect data and analyse the conceptualisation of meaning in their compositions, as well as apply this understanding to audiences’ conceptualisation of meaning in musical works. The results of this thesis project culminate in the creation and presentation of three artistic outcomes: a new and original work for chamber ensemble, and two audio papers that explore the synthesis of interview responses and recordings of musical works within the framework of an audio-based discourse. Semi-structured interviews in the form of stimulated recall sessions were conducted as a means of obtaining data from participants about their interpretation of meaning in musical works. The use of metaphors as a conceptual framework with which to code and analyse data collected from these sessions allowed for the linguistic conceptualisation of musical meaning that avoided the theory construction and analytical aesthetic tendencies of modern music philosophy. This conceptual framework was also applied in the coding and analysis of a compositional perspective of the new work in order to compare and contrast the similarities and differences between composers and audiences in their interpretations of musical meaning. While this thesis does not purport to offer a “theory” for the conceptualisation of meaning in musical works, the findings presented in the analysis of the new composition and audio papers allows for a conceptual framework that takes into account the everyday use of language in communicating the experiences of composers and audience members in their conceptualisation of meaning in musical works. (shrink)

In this talk I present the main results from Anta (2021), namely, that the theoretical division between Boltzmannian and Gibbsian statistical mechanics should be understood as a separation in the epistemic capabilities of this physical discipline. In particular, while from the Boltzmannian framework one can generate powerful explanations of thermal processes by appealing to their microdynamics, from the Gibbsian framework one can predict observable values in a computationally effective way. Finally, I argue that this statistical mechanical schism contradicts the Hempelian (...) (1958) thesis that the predictive power of a scientific theory is directly proportional to its explanatory potential, and vice versa. (shrink)

We propose that there are four fundamental kinds of metaphor that are uniquely mapped onto specific brain ‘‘networks’’ and present preliterate (i.e., evolutionary, including before the appearance of written language in the historical record), prelinguistic (i.e., developmental, before the appearance of speech in human development), and extralinguistic (i.e., neuropsychological, cognitive) evidence supportive of this view. We contend that these basic metaphors are largely nonconceptual and entail (a) perceptual–perceptual, (b) cross-modal, (c) movement–movement, and (d) perceptual-affective mappings that, at least, in the (...) initial stages of processing may operate largely outside of conscious awareness. In opposition to our basic metaphor theory (BmT), the standard theory (SmT) maintains that metaphor is a conceptual mapping from some base domain to some target domain and/or represents class-inclusion (categorical) assertions. The SmT captures aspects of secondary or conceptual metaphoric relations but not primary or basic metaphoric relations in our view. We believe our theory (BmT) explains more about how people actually recognize or create metaphoric associations across disparate domains of experience partly because they are ‘‘pre-wired’’ to make these links. (shrink)

En La Transfiguración del lugar común Danto discute cuál es el estatuto de la copia y la falsificación en las obras de arte. Sostiene que una ruta posible para diluir ese problema es entender el contexto y el tipo de relación que se da entre una obra de arte y su autor, y considera que las copias son ontológicamente distintas del objeto copiado. En este artículo reviso algunas situaciones problemáticas en las que la resolución de Danto es iluminadora y otras (...) en donde lo es menos, o bien es debatible. Discutiré específicamente tres casos: la falsificación, la apropiación y el plagio. (shrink)

G. F. Stout is famous as an early twentieth century proselyte for abstract particulars, or tropes as they are now often called. He advanced his version of trope theory to avoid the excesses of nominalism on the one hand and realism on the other. But his arguments for tropes have been widely misconceived as metaphysical, e.g. by Armstrong. In this paper, I argue that Stout’s fundamental arguments for tropes were ideological and epistemological rather than metaphysical. He moulded his scheme to (...) fit what is actually given to us in perception, arguing that our epistemic practices would break down in an environment where only universals were given to us. (shrink)

This paper provides the first systematic philosophical analysis of an increasingly important part of modern scientific practice: analogue quantum simulation. We introduce the distinction between `simulation' and `emulation' as applied in the context of two case studies. Based upon this distinction, and building upon ideas from the recent philosophical literature on scientific understanding, we provide a normative framework to isolate and support the goals of scientists undertaking analogue quantum simulation and emulation. We expect our framework to be useful to both (...) working scientists and philosophers of science interested in cutting-edge scientific practice. (shrink)

In this dissertation, I present a novel account of the components that have a peculiar epistemic role in our scientific inquiries, since they contribute to establishing a form of coordination. The issue of coordination is a classic epistemic problem concerning how we justify our use of abstract conceptual tools to represent concrete phenomena. For instance, how could we get to represent universal gravitation as a mathematical formula or temperature by means of a numerical scale? This problem is particularly pressing when (...) justification for using these abstract tools comes, in part or entirely, from knowledge which is not independent from them, thus leading to threats of circularity. Achieving coordination between some abstract conceptual tools and the concrete phenomena that they are supposed to represent is usually a complex process, which involves several epistemic components. Some of these components eventually provide stable conditions for applying those abstract representations to concrete phenomena. It is in this sense of providing certain conditions of applicability that different philosophical traditions, as well as some contemporary reappraisals, view these components as constitutive or a priori. In this work, I present a new gradualist, contextualist, and relational approach to understand these constitutive components of scientific inquiry. It is gradualist inasmuch as the degree to which some component is constitutive depends on three quantifiable features: quasi-axiomaticity, generative potential, and empirical shielding. Since the quantification of these three features impinges on the history and practice of using these components in a scientific context, my approach is a contextualist one. Finally, my approach is relational in a double sense: first, it identifies ordinal relationships among epistemic components with respect to their constitutive character; second, these relationships are relative to a scientific framework of inquiry. After introducing my account and a classic example of constitutively a priori principles, i.e., Friedman’s (2001) analysis of Newtonian mechanics, I turn to my own case studies to demonstrate the advantages of my approach. Firstly, I discuss Okasha’s (2018) view of endogenization as a pervasive theoretical strategy in evolutionary biology and suggest that the constitutive character of the core Darwinian principles progressively increases with endogenization. Secondly, I apply a conceptual distinction between two varieties or scopes of coordination – general coordination and coordination in measurement – to Ohm’s work on electrical conductivity. This distinction allows me to pinpoint to what extent components along different dimensions (e.g., instrumentation, measurement, theorising, etc.) were constitutive of the forms of coordination which Ohm relied on. Thirdly, I discuss the epistemic function of the Hardy-Weinberg principle in the history and practice of population genetics. I assess this principle in terms of my account and identify approximation and stability as two components that are highly constitutive, in that they contribute to justifying its use in population genetics. Finally, applying my account to these case studies enables me to identify at least three qualitatively different types of constitutive components: domain-specific theoretical principles, material components, and domain-independent assumptions underlying reasoning abilities. In the light of my results, I draw some general conclusions on epistemic justification and scientific knowledge. (shrink)

When investigating the nature of culinary works, it is easy to take for granted that they all share the same ontology. This paper argues that, on the contrary, the ontology of culinary works is really threefold. Some culinary works are edible concrete particulars, or dishes, as many of us may first assume. But others are types, or multiply realisable abstract entities. And, while some of these types are determined by one recipe, others are rather chased after by their indefinitely many (...) recipes. So, there are really three kinds of culinary works; only those belonging to one of the three are edible per se; and, each kind has a very different relationship to recipes. Indeed, it is very doubtful that culinary works consisting in edible concrete particulars are suitable to have one or more recipes: by exploring what are the requirements for being a recipe, the paper also examines under what necessary conditions there is a recipe for preparing a culinary work qua concrete particular. (shrink)

A recent version of the mental file framework argues that the antirealist theory of fictional objects can be reconciled with the claim that fictional utterances involving character names express propositions that are true in the real world. This hybrid view rests on the following three claims: character names lack referents but express a mode of presentation, fictional utterances introduce oblique contexts where character names refer to their modes of presentation, and modes of presentation are mental files. In this critical paper, (...) I will argue that the proposed view runs into a number of theory-internal problems. These problems arise partly from the unclarities inherent in the notion of mental file, and partly from a mistaken semantics for character names. I will also argue that adherents of fictional realism can make use of the notion of mental file without encountering similar difficulties. (shrink)