This contribution provides an assessment of the epistemological role of scientific models. The prevalent view that all scientific models are representations of the world is rejected. This view points to a unified way of resolving epistemic issues for scientific models. The emerging consensus in philosophy of science that models have many different epistemic roles in science is presented and defended.

Several prominent philosophers of science, most notably Ron Giere, propose that scientific theories are collections of models and that models represent the objects of scientific study. Some, including Giere, argue that models represent in the same way that pictures represent. Aestheticians have brought the picturing relation under intense scrutiny and presented important arguments against the tenability of particular accounts of picturing. Many of these arguments from aesthetics can be used against accounts of representation in philosophy of science. I rely on (...) Dominic Lopes' recent summary of arguments against various views of picturing and reformulate some of them to fit the philosophy of science context. My specific targets here are Giere and Steven French. I go on to argue that assuming all scientific models and images represent in the same way is not the best guide to understanding scientific practice. (shrink)

In this paper, I defend the view that there are many scientific images that have a serious epistemic role in science but this role is not adequately accounted for by the going view of representation and its attendant theoretical commitments. The relevant view of representation is Laura Perini’s account of representation for scientific images. I draw on Adina Roskies’ work on scientific images as well as work on models in science to support my conclusion.

In this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François (...) Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images. (shrink)

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

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman's own theory, but any broadly type versus token based account of notational structure.Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other notational (...) item. Such a view is strongly supported by the completely conventional relation between inscriptions and notation, as shown by encryption techniques etc. (shrink)

Mathematical diagrams are frequently used in contemporary mathematics. They are, however, widely seen as not contributing to the justificatory force of proofs: they are considered to be either mere illustrations or shorthand for non-diagrammatic expressions. Moreover, when they are used inferentially, they are seen as threatening the reliability of proofs. In this paper, I examine certain examples of diagrams that resist this type of dismissive characterization. By presenting two diagrammatic proofs, one from topology and one from algebra, I show that (...) diagrams form genuine notational systems, and I argue that this explains why they can play a role in the inferential structure of proofs without undermining their reliability. I then consider whether diagrams can be essential to the proofs in which they appear. (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)

First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.

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)

In order to secure the limits of the critical use of reason, and to succeed in the critique of speculative metaphysics, Immanuel Kant (1724–1804) had to present a full account of human cognitive experience. Perception in Kant’s Model of Experience is a detailed investigation of this aspect of Kant’s grand enterprise with a special focus: perception. The overarching goal is to understand this common phenomenon both in itself and as the key to understanding Kant’s views of experience. In the process, (...) the author argues against any such reading of Kant that puts too much emphasis on concepts and understanding in perception. This means that claims of the sort that intuitions cannot play their role without concepts, that sensibility cannot bring anything to cognition without being mediated through the functions of understanding, or that there is no such thing as concept-independent perception, are shown to be either plainly false or misleading at best. Together with the contemporary topics examined by the end of the book, the findings suggest how the role of conceptual thinking in human cognition has been exaggerated partly because of a misplaced interpretation of Kant, which not only makes perception far more intellectual in character than what was intended by Kant himself, but distorts Kant’s account of cognition by overlooking what there is at the heart of his critical philosophy: the revaluation of sensible cognition. (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)