There is currently a gap in our understanding of how figures produced by mechanical imaging techniques play evidential roles: several studies based on close examination of scientific practice show that imaging techniques do not yield data whose significance can simply be read off the image. If image-making technology is not a simple matter of nature re-presenting itself to us in a legible way, just how do the images produced provide support for scientific claims? In this article I will first show (...) that there is a distinct question about the semiotics of mechanically produced images that has not yet been answered. I show that my account of visual representations can do so, and I argue that the role of convention involved in my account is compatible with the view that visual representations produced through mechanized imaging techniques can play genuine evidential roles in scientific reasoning. (shrink)

Molecular biologists and biochemists often use diagrams to present hypotheses. Analysis of diagrams shows that their content can be expressed with linguistic representations. Why do biologists use visual representations instead? One reason is simple comprehensibility: some diagrams present information which is readily understood from the diagram format, but which would not be comprehensible if the same information was expressed linguistically. But often diagrams are used even when concise, comprehensible linguistic alternatives are available. I explain this phenomenon by showing why diagrammatic (...) representation is especially well suited for a particular kind of explanation common in molecular biology and biochemistry: namely, functional analysis, in which a capacity of the system is explained in terms of capacities of its component parts. (shrink)

The employment of digital technology in recent instances of artwork replication raises important questions about the perceptual and ontological distinction between original and copy, for the latter is purported to be even more authentic than an original that has undergone alterations. Such instances challenge not only Benjamin’s claim about the loss of aura but also Goodman’s distinction between autographic and allographic arts. The article proposes to rethink the original/copy dualism from the perspective of the cult image. In the devotional traditions (...) of Graeco-Roman polytheism as well as Christianity and Buddhism, cult images are approached not as representations, but as animated entities endowed with thaumaturgic powers that can be ritually transferred onto copies. From this perspective, replication is not about reproducing more or less faithfully the original, but engendering a double as effective as the original. Finally, the bearing of this perspective on contemporary works of art is considered. (shrink)

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas about music, (...) which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)

We can witness the recent surge of interest in the interaction between cognitive science, philosophy of science, and aesthetics on the problem of representation. This naturally leads us to rethinking the achievements of Goodman’s monumental book Languages of Art. For, there is no doubt that no one else contributed more than Goodman to throw a light on the cognitive function of art. Ironically, it could be also Goodman who has been the stumbling block for a unified theory of representation. In (...) this paper, I shall contrast the ways how differently misrepresentation has been treated in cognitive science, aesthetics, and philosophy of science. And I shall show that it is Goodman’s unnecessary separation of resemblance and representation in art that made such a difference. As a conclusion, I will indicate some of the most promising projects toward the unified theory of representation the revolt against Goodman’s rejection of resemblance theories might promise to us. (shrink)

This paper examines the concept of information in situation semantics. For this purpose the most fundamental principles of situation semantics are classified into three groups: principles of the more fundamental kind, principles related to regularity, and principles governing incremental information. Fodor’s well-known criticisms of situation semanticists’ concepts of information target the first group. Interestingly, situation semanticists have been anxious to articulate either the principles of the second group or the principles of the third group in order to meet these criticisms. (...) Based on these observations, I will launch a dilemma for situation semanticists. Either they fail to handle information about individuals or they fail to present any acceptable account of the laws of nature. Millikan’s version of situation semantics, I shall argue, is not the exception to the rule. (shrink)

We historically and conceptually situate distributed cognition by drawing attention to important similarities in assumptions and methods with those of American ?functional psychology? as it emerged in contrast and complement to controlled laboratory study of the structural components and primitive ?elements? of consciousness. Functional psychology foregrounded the adaptive features of cognitive processes in environments, and adopted as a unit of analysis the overall situation of organism and environment. A methodological implication of this emphasis was, to the extent possible, the study (...) of cognitive and other processes in the natural (real world) contexts in which they occur. We therefore emphasize commonalities and differences between functional psychology and D-Cog. One purpose of the comparison is to consider the extent to which criticisms directed at functional psychology are relevant to D-Cog. We also examine the relation between functional psychology and philosophical pragmatism and conclude that D-Cog's conceptual framework would be strengthened through more explicit adoption of philosophical pragmatism, consistent with the eventual trajectory of functional psychology. (shrink)

In this essay, I first consider a popular view of models and modeling, the similarity view. Second, I contend that arguments for it fail and it suffers from what I call “Hughes’ worry.” Third, I offer a deflationary approach to models and modeling that avoids Hughes’ worry and shows how scientific representations are of apiece with other types of representations. Finally, I consider an objection that the similarity view can deal with approximations better than the deflationary view and show that (...) this is not so. (shrink)

Music’s power to improve the ‘human condition’ has been acknowledged since ancient times. Something as counter-intuitive as weeping in response to music can ameliorate suffering for a time even for terminally ill patients. Several benefits—including catharsis, communication, and experiencing vitality—can be associated with grieving in response to “sad” music. In addressing the potential rewards of such an activity for terminally ill patients, this author combines concepts from philosopher Jerrold R. Levinson’s article, entitled “Music and Negative Emotion,” an illustration from a (...) major motion picture, and supporting research from medical reports and aesthetic writings. Carefully offering this experience is recommended for patients who retain the capacity to express preference. (shrink)

Woosuk Park’s paper “Misrepresentation in Context” is a useful plea for a theory of representation with promising interaction between cognitive science, philosophy of science, and aesthetics. In this paper, I argue that such a unified account is provided by Charles S. Peirce’s semiotics. This theory puts Park’s criticism of Nelson Goodman and Jerry Fodor in context. Some of Park’s pertinent remarks on the problem of misrepresentation can be illuminated by the account of truthlikeness and idealization developed by philosophers of science.

Van Fraassen argues that data provide the target-end structures required by structuralist accounts of scientific representation. But models represent phenomena not data. Van Fraassen agrees but argues that there is no pragmatic difference between taking a scientific model to accurately represent a physical system and accurately represent data extracted from it. In this article I reconstruct his argument and show that it turns on the false premise that the pragmatic content of acts of representation include doxastic commitments.

Drawing on ‘interpretational’ accounts of scientific representation, I argue that the use of so-called ‘toy models’ provides no particular philosophical puzzle. More specifically; I argue that once one gives up the idea that models are accurate representations of their targets only if they are appropriately similar, then simple and highly idealized models can be accurate in the same way that more complex models can be. Their differences turn on trading precision for generality, but, if they are appropriately interpreted, toy models (...) should nevertheless be considered accurate representations. A corollary of my discussion is a novel way of thinking about idealization more generally: idealized models may distort features of their targets, but they needn’t misrepresent them. (shrink)

This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art has increasingly turned its attention (...) to the issues that arise from particular art forms. I will also draw on some ideas developed in art history and theory, which have a suitably philosophical, that is, general or foundational, character. There are many philosophical issues that arise equally from painting and other art forms, but for just this reason, they are best addressed in a broader cross-art-form context, and I will mostly avoid dealing with them here. Instead, I will focus on issues that arise solely or with a special force from a consideration of painting. It will be helpful to roughly arrange these in two categories. The first is representation; the second is form. We shall see that these categories are difficult to keep separate with regard to painting and overlap at various points. (shrink)

This article explores a German philosophy of metaphor, which proposed a close link between the body and the mind as the basis for metaphor, debunked the view that metaphor is just a decorative rhetorical device and questioned the distinction between the literal and the figurative. This philosophy of metaphor developed at the intersection between a reflection on language and thought and a reflection on the nature of beauty in aesthetics. Thinkers such as Giambattista Vico, Johann Wolfgang von Goethe, Jean Paul (...) and others laid the foundations for this philosophy and it was successively refined by Gustav Gerber, Alfred Biese and Friedrich Nietzsche. It influenced in its turn in various ways the linguistic study of metaphor and the psychology of metaphor as elaborated, for instance, by a lesser-known American scholar, Gertrude Buck. All these thinkers contributed to a philosophy and psychology of the metaphoric according to which metaphors are not only nice, but necessary for the structure and growth of human thought and language. Obvious parallels between this 19th-century philosophy of metaphor and the 20th-century theory of metaphor developed by Lakoff and his followers are examined throughout. (shrink)

Designing, building, and experimenting with physical simulation models are central problem‐solving practices in the engineering sciences. Model‐based simulation is an epistemic activity that includes exploration, generation and testing of hypotheses, explanation, and inference. This paper argues that to interpret and understand how these simulation models function in creating knowledge and technologies requires construing problem solving as accomplished by a researcher–artifact system. It draws on and further develops the framework of “distributed cognition” to interpret data collected in ethnographic and cognitive‐historical studies (...) of two biomedical engineering research laboratories, and articulates the notion of distributed model‐based cognition to answer the question posed in the title. (shrink)

How is it that metaphors are meaningful, yet we have so much trouble saying exactly what they mean? I argue that metaphoric thought is an act of imagination, mediated by the contingent form of human embodiment. Metaphoric cognition is an example of the productive interplay between intentional imagery and the body scheme, a process of imaginal modeling. The case of metaphor marks the intersection of linguistic and psychological processes and demonstrates the need for a multi-disciplinary approach not only in philosophy (...) of language, but in cognitive science and consciousness studies as well. (shrink)

Elgin offers an influential and far-reaching challenge to veritism. She takes scientific understanding to be non-factive and maintains that there are epistemically useful falsehoods that figure ineliminably in scientific understanding and whose falsehood is no epistemic defect. Veritism, she argues, cannot account for these facts. This paper argues that while Elgin rightly draws attention to several features of epistemic practices frequently neglected by veritists, veritists have numerous plausible ways of responding to her arguments. In particular, it is not clear that (...) false propositional commitments figure ineliminably in understanding in the manner supposed by Elgin. Moreover, even if scientific understanding were non-factive and false propositional commitments did figure ineliminably in understanding, the veritist can account for this in several ways without thereby abandoning veritism. (shrink)

While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue (...) that seeing trompe l’oeil paintings is, just as some philosophers suggested, different from other cases of picture perception. Further, the way our perceptual system functions when seeing trompe l’oeil paintings could be an important piece of the psychological explanation of perceiving pictures. (shrink)

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: (...) the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

A shorthand symbolism for the relational mapping of categories is introduced and developed on the basis of Nelson Goodman's structural methodology. Through a reconstruction of extensional isomorphism that Goodman introduces as a criterion for definitional accuracy, and a brief reminder of the argument structure behind his ‘new riddle of induction’, Goodman's radical ontological relativism is turned into a protological principle of what I call ‘domain constituting philosophy’. MSS is demonstrated with reference to Goodman's symbol theory, particularly his notion of exemplification, (...) as well as in a final structured comparison of Frege's ‘sense’ with Goodman's straightforward construction of ‘secondary extension’. (shrink)

Many philosophers and psychologists have attempted to elucidate the nature of mental representation by appealing to notions like isomorphism or abstract structural resemblance. The ‘structural representations’ that these theorists champion are said to count as representations by virtue of functioning as internal models of distal systems. In his 2007 book, Representation Reconsidered, William Ramsey endorses the structural conception of mental representation, but uses it to develop a novel argument against representationalism, the widespread view that cognition essentially involves the manipulation of (...) mental representations. Ramsey argues that although theories within the ‘classical’ tradition of cognitive science once posited structural representations, these theories are being superseded by newer theories, within the tradition of connectionism and cognitive neuroscience, which rarely if ever appeal to structural representations. Instead, these theories seem to be explaining cognition by invoking so-called ‘receptor representations’, which, Ramsey claims, aren’t genuine representations at all—despite being called representations, these mechanisms function more as triggers or causal relays than as genuine stand-ins for distal systems. I argue that when the notions of structural and receptor representation are properly explicated, there turns out to be no distinction between them. There only appears to be a distinction between receptor and structural representations because the latter are tacitly conflated with the ‘mental models’ ostensibly involved in offline cognitive processes such as episodic memory and mental imagery. While structural representations might count as genuine representations, they aren’t distinctively mental representations, for they can be found in all sorts of non-intentional systems such as plants. Thus to explain the kinds of offline cognitive capacities that have motivated talk of mental models, we must develop richer conceptions of mental representation than those provided by the notions of structural and receptor representation. (shrink)

Some artistic representations—the painting of a hat in a famous picture by Rembrandt is an example—are able to present vividly the character of what they represent precisely by calling attention to their medium of representation. There is a puzzle about this whose structure, I argue, is analogous to that of a familiar Kantian problem for traditional realism. I offer a precise characterization of the puzzle, before arguing that an analogue for the case of representation to the Kantian solution to the (...) problem for traditional realism is implausible. I offer an alternative solution to the puzzle about representation which also explains why we should be interested in artistic representation in the first place. I close with the outline of a possible realist response to the traditional Kantian problem. (shrink)

An influential view in cognitive science is that computation in cognitive systems is semantic, conceptually depending on representation: to compute is to manipulate representations. I argue that accepting the non-semantic teleomechanistic view of computation lays the ground for a promising alternative strategy, in which computation helps to explain and naturalise representation, rather than the other way around. I show that this computation-based approach to representation presents six decisive advantages over the semantic view. I claim that it can improve the two (...) most influential current theories of representation, teleosemantics and structural representation, by providing them with precious tools to tackle some of their main shortcomings. In addition, the computation-based approach opens up interesting new theoretical paths for the project of naturalising representation, in which teleology plays a role in individuating computations, but not representations. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

Celem niniejszego artykułu jest wyznaczenie kierunków badań edukacyjnych w działalności Polskiej Szkoły Argumentacji oraz zainicjowanie dyskusji w polskim środowisku filozoficznym i wśród nauczycieli szkolnych. Opierając się na dotychczasowej działalności Szkoły w badaniach nad edukacją i tworzeniu standardów nauczania sztuki argumentacji oraz wątków edukacyjnych wyeksponowanych podczas XV konferencji ArgDiaP, formułujemy postulaty, które mogą stanowić część planu edukacyjnego w najbliższych latach. Realizacja tych postulatów może stanowić punkt odniesienia do realizacji długoterminowego planu tworzenia standardów nauczania sztuki argumentacji.

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)

In "Why Feynman Diagrams Represent", I argued that Feynman diagrams have two distinct functions: they are both calculational devices, developed to keep track of the long mathematical expressions of quantum electrodynamics,1 and they are pictorial representations. This challenges the common view that FDs are calculational devices alone and that it is misleading, if not an outright error, to think of them as pictorial. Following Kendall Walton's account of representation, I drew out what it means to think of FDs as pictures, (...) which in turn explained why FDs represent. However, my defence conceded an important point: not all of... (shrink)

Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...) between text and image in comics, and the connection between comics and cartooning. (shrink)

In current philosophy of information, different authors have been supporting the veridicality thesis (VT). According to this thesis, an epistemically-oriented concept of information must have truth as one of its necessary conditions. Two challenges can be raised against VT. First, some philosophers object that veridicalists erroneously ignore the informativeness of false messages. Secondly, it is not clear whether VT can adequately explain the information considered in hypothetical reasoning. In this sense, logical diagrams offer an interesting case of analysis: by manipulating (...) a logical diagram we can verify that a certain conclusion follows from a set of premises, but it cannot help us to determine the actual truth-value of a given set of propositions. Focusing on the latter challenge, in this paper I claim that logical diagrams set out potential counterexamples to VT and, consequently, pose a real challenge to this thesis. First, a veridicalist analysis of logical diagrams requires the assumption of metatheoretical properties which are not satisfied by some logical systems (and, consequently, are not satisfied by some systems of logical diagrams). So, VT does not fit well as a general framework for a theory of logical diagrammatic information. Secondly, based on semantic inferentialism, one can propose a normative interpretation of the inferential content of logical diagrams not exposed to the problems faced by VT. Moreover, there are several reasons to believe that veridicalism cannot accommodate such a normative interpretation. In other words, normativism represents a real (though still underexplored) alternative to veridicality. Due to these reasons, I conclude that, until further research, we should adopt a more parsimonious standpoint and say that logical diagrams provide inferential information simply. (shrink)

I defend a version of color subjectivism — that colors are sortals for certain neural events — by arguing against a sophisticated form of color objectivism and by showing how a subjectivist can legitimately explain the phenomenal fact that colors seem to be properties of external objects.

Despite the fact about colour, that it is one of the most obvious and conspicuous features of the world, there is a vast number of different theories about colour, theories which seem to be proliferating rather than decreasing. How is it possible that there can be so much disagreement about what colours are? Is it possible that these different theorists are not talking about the same thing? Could it be that more than one of them is right? Indeed some theorists, (...) e.g. Leo M. Hurvich, D. L. McAdam and K. Nassau, say that the term ‘colour’ is used to identify a range of different properties, e.g. pigments, properties of light, and sensations. Such a view has its attractions, but it raises the question of what it is that unites these various concepts – what is it that would make them all concepts of colour? What is it that justifies using the same terms, ‘yellow’, ‘blue’, ‘pink’, mauve’, and so on?This paper aims to address this question, arguing that its answer supports the conclusion that the best theory of colour is a form of anti‐realism: the Illusory theory of colours. There are two parts to this thesis, one negative, the other positive. The negative part is that there are no colours, as they are ordinarily conceived. The positive part is that, nevertheless, the world is such that ‘it is as if there are such colours’. Such a theory has important implications. One is that it doesn’t fall neatly into the usual taxonomy of philosophical theories. In particular, it does not deserve the label ‘eliminativist’. Another is that it allows some space for the views expressed by Hurvich, McAdam and Nassau, but not quite in the sense that they intend. (shrink)

Humeanism started life as a metaphysical program that could turn out to be false if our best physical theories were to postulate ontological features at odds with Humean ones. However, even if this has arguably already happened, Humeanism is still considered one of the strongest and most appealing metaphysical theories for describing the physical world. What is even more surprising is that a radical Humean thesis—Super-Humeanism—which posits an extremely parsimonious ontology including nothing more than propertyless matter points and their distance (...) relations, is said by its proponents to follow from an attentive reading of our best physical theories. Given its close relationship with physics, Super-Humeans argue that their doctrine conforms to Scientific Realism, offers the ontology that best explains physics’ empirical evidence, and is a naturalistic theory. This paper investigates the strategies that Super-Humeans have adopted to defend these three claims and, more generally, its alleged closeness to physics. I will show that, contrary to what advocates of Super-Humeanism claim, some of its commitments have inevitably created a gap between itself and physics that is difficult to overcome. While it is laudable that Super-Humeans have adopted various strategies to close this gap, no strategy has yet fully succeeded. (shrink)

The representation of reality is a fundamental concept in the perception of theworld. Its historical consideration leads to an understanding of historical andcontemporary culture. In this paper we specifically investigate theanthropometric stage of cultural development as a historical world view. Wedefine this stage on the basis of René Girard's hypotheses on the origin ofculture, and we isolate its principles. Next, we consider the function of art asthe representation of cultural values. We investigate the three major motivesof artistic representation in the (...) anthropometric stage, i.e. beauty, dramatizationand mimesis. We show how and why these motives play an essential partin the obfuscation and explanation of the origin of culture. Finally, we showhow these developments are dealt with in the aesthetics of Plato and Aristotle. (shrink)

From the late seventeenth century on the idea of culture underwent a gradual transformation. Originally this concept referred essentially to the “refined” way of life of the ruling social elite. Popular culture, on the other hand, refers to the usually collective practices of groups of rural and urban workers taking the form of performance. They were not only excluded from refined culture, but it was regarded as completely unsuitable for them, potentially creating dangerous social aspirations. It is with the great (...) social transformation from feudal to bourgeois society that the idea of refined culture was replaced by that of “high culture” encompassing both the arts and the sciences: works claiming universal human significance. This “high culture” for a considerable time coexisted with the remnants of popular culture. It has been only due to the great technical advances that its true opposite, “mass culture” emerged, at the turn to twentieth century, claiming an empirical universality: being understandable and truly interesting to everyone. In economic respect, there is a competitive relation between high and mass culture. However, it is argued that there can be no cultural competition between them. For they posit differing and potentially co-existing receptive attitudes. The characterisation of this difference and the discussion of the seeming exceptions to the so-articulated conceptual scheme occupies the concluding part of this essay. (shrink)

Alexius Meinong's specific use of the term "self-presentation" had a significant influence on modern epistemology and philosophical psychology. To show that there are remarkable parallels between Meinong's account of the self-presentation of experiences and Lehrer's account of the exemplarization of experiences is one of this paper's main objectives. Another objective is to put forward some comments and critical remarks to Lehrer's approach. One of the main problems can be expressed by the following: The process of using a particular experience as (...) a sample, that is, an exemplar that we use to stand for and refer to a plurality of experiences, Lehrer calls "exemplarization". As concrete experiences are multifarious (red and round, for example), how can we single out a specific sort of experiences (the red ones) by the process of exemplarization when we use such a multifarious experience as a sample? (shrink)