Embodied cognition: assumptions, theses and challenges: The paper aims at providing a concise presentation of the concept of embodied cognition that emerged in the cognitive sciences a few decades ago and has gained great popularity among empirically and philosophically informed researchers. The term “embodied cognition” is used by the author in two senses. The narrow sense implies that the body plays an important role in the process of cognition. In the broad sense “embodied cognition” is to characterize the general tendency (...) within cognitive science which finds its articulation in the 4E perspective on cognition. The working hypothesis of the 4E perspective is that cognition depends on the characteristics of the agent’s body and its interaction with the physical and social environment. It emphasizes that cognition is: embodied, embedded, enacted, extended. After reconstructing the key concepts and basic assumptions the author offers a brief appraisal of the views under discussion. He claims that the characteristics of such a trend are incomplete and not homogeneity since the perspective encompasses at least a few related and partly overlapping views on cognition. The author concludes that “embodied cognition” serves as a label for a variety of research programs within cognitive science rather than a strictly defined and well-established research tradition or a new paradigm. (shrink)

This study is a corpus analysis of nominal uses of ‘public’ as a reference to a group of humans, a category of reference that has animated the debate over membership in the body public among theorists of publicity and deliberative democracy. The study finds that the public metonym is the most common nominal use of ‘public’ as a reference to a group of humans in ordinary English. In addition, it presents a fine-grained analysis of the discourse features of the public (...) metonym based on the corpus results, finding that three features characterize the public metonym: definiteness, non-assignability, and anthropomorphism. It shows how these features are encoded by linguistic constructions, then extends the analysis by drawing attention to some basic contradictions among these three features. Finally, it shows how these contradictions can be accounted for by describing ‘public’ as metonymic. The paper draws together public sphere research, discourse studies, and rhetoric in order to describe the features of a central trope of civic identity. (shrink)

Performances and arguments Content Type Journal Article Category Essay Review Pages 1-10 DOI 10.1007/s11016-011-9562-0 Authors Harry Collins, SOCSI, Cardiff University, Cardiff, CF10 3WT UK Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

This essay reviews Theatre, Communication, Critical Realism (2010) by Tobin Nellhaus. It begins by outlining the objective of the book and proceeds to evaluate its central argument. The objective is to develop a theory of theatre founded on the premises of critical realism and thereby theoretically situate theatrical performance in its socio-cultural matrix. The argument is that critical realism is effective for developing a comprehensive account of theatrical performance because it has the capacity to reveal truths about the structure of (...) social reality (that correspond to those articulated by critical realism). In the second part of the review, employing the methods of conceptual analysis, I propose that Nellhaus’s thesis of ‘ontological doubling’ (which claims that performance doubles human agency) is undermined by certain epistemological presuppositions regarding the ontology of fictional characters. (shrink)

This article examines the philosophical issues that arise when preserving urban geological sites or urban geosites. These are preserved not only because of their geological value but also because of aesthetic, cultural, and economic reasons. To do so, it examines the geosite constituted by Olot and its surroundings, a city in Spain that extends amid four dormant volcanoes. It explores the metaphysical paradox that these geosites have become what they are due to the preservation of destruction: human-caused interventions, mostly extraction (...) of materials and exploitation of the land, are precisely what made these geosites visible as sites worth preserving and determining their metaphysical status. It further explores the preservation criteria and shows how they have determined the status of the geosite. Second, it shows how in such urban geosites the collapse of two diametrically opposed conceptions of time – the geological eon and the lived human time – occurs. Lastly, it discusses aesthetic aspects of such geosites by considering aesthetic experience as a primarily cognitive endeavor and shows how metaphysical, epistemological, and aesthetic issues of preservation of geosites are inextricably linked. (shrink)

This dissertation is an attempt to analyze an indigenous concept of early Chinese Philosophy in its own context, interpreting it outside of a contemporary Western philosophical framework , then to comb the history of Western philosophy for related concepts, in order to finally enrich the contemporary philosophical landscape by incorporating this concept through a useful and familiar set of conceptual tools. ;The concept in question is ziran, rendered spontaneity, a central notion of early Chinese philosophy but one that has not (...) been philosophically elaborated to an adequate degree in sinological literature. Preliminary to addressing spontaneity, one must first address the outstanding metaphysical issue of intersubjective interaction in early Chinese philosophy, and such an investigation must center on the difficult notion of qing, rendered affectivity in a general sense meant to encompass not only emotion but all cognition. On the sensitivity-and-response model of Chinese interpenetrative interaction, affectivity is found to be a central component of such interaction. ;Having laid the groundwork for an analysis of spontaneity, I examine the skill episodes of the early Chinese Daoist work Zhuangzi, abstracting out four defining features of spontaneous action. After elaborating on these features in context and in relation to each other, I turn to the Western philosophical tradition to see if any aspects of spontaneity or its underlying metaphysics can be discovered there. Although metaphysical differences are constantly an obstacle, I find significant parallels to spontaneity in such figures as Plato, Aristotle, Rousseau, Schiller, James, and Dewey. Through extended examination of this wide variety of philosophical theories, a more nuanced and enriched understanding of spontaneity results. ;Finally, I bring spontaneity to bear on aesthetic and moral action. Here I make a number of original contributions regarding how to conceptualize spontaneous action with regard to formality and syntax of actions in activities, regarding a division of the arts into somatic and non-somatic, regarding the relationship of spontaneity to improvisation, and regarding the possibility and challenge of cultivating spontaneity in art and in moral action. ;Similar philosophical gains are prompted through the dissertation, such as the logical impossibility of judgment, the possibility and desirability of unnatural action, the distinction of numismatic terminology, and the usefulness of the inchoate. (shrink)

While many recent accounts of scientific representation have given a central role to the agency and intentions of scientists in explaining representation, they have left these agential concepts unanalyzed. An account of scientific, representational actions will be a useful piece in offering a more complete account of the practice of representation in science. Drawing on an Anscombean approach to the nature of intentional actions, the Means-End Account of Scientific, Representational Actions describes three features of scientific, representational actions: the final description (...) in the means-end ordering of descriptions is some scientific aim; that interaction with a vehicle distinct from its target stands as an earlier description which is ordered toward the final description as means to end; and the means-end structure is licensed by scientific practice. After describing each of the components of the Means-End Account in greater detail through the example of the representational use of a mathematical model, I explain how it can demarcate scientific, representational actions from other sorts of actions. I close by describing some payoffs of the account, showing how it contributes to a more thorough understanding of the practice of representation in science and how it can be of use in understanding the close connection between representation and other forms of scientific activity. (shrink)

Focused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the “opening” occurs, (...) striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation. (shrink)

This paper argues for the theoretical and practical validity of similarity as a useful epistemological tool in scientific knowledge generation, specifically in chemistry. Classical analyses of similarity in philosophy of science do not account for the concept’s practical significance in scientific activities. We recur to examples from chemistry to counter the claim of authors like Quine or Goodman to the effect that similarity must be excluded from scientific practices . In conclusion we argue that more recent conceptualizations of the notion (...) of similarity, particularly Giere’s one, are appropriate for a philosophical analysis that considers scientific practices on equal terms with scientific theory. (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (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)

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)