Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are (...) a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)

Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.

This study investigates the composer-performer relationship in terms of the site of responsibility for the aesthetic features of the musical performance. It considers the extent to which the performer's view of that relationship affects the performance itself. This is accomplished by examining four focal points: the composer-performer relationship; composers' intentions; Nelson Goodman's account of notation, expression and style; and the work--including the writings--of Canadian pianist Glenn Gould. ;The composer is seen by some as predominantly responsible for the performance, with the (...) performer's role as that of fulfilling the composer's intentions. A contrasting perspective, cognizant of the significance of interpretive decisions, situates the performer as co-creator. ;Pivotal in this debate are the discrepancies surrounding the role of composers' intentions. Critical discussion of the Early Music Movement, considered here as a paradigm of historical authenticity, distinguishes between its proponents, for whom composers' intentions are authoritative, and its opponents, who perceive that historical authenticity, even if attainable, would be insufficient to ensure a work's aesthetic merit. ;This divergence derives from the fact that the musical performance is underdetermined by Western musical notation. Nelson Goodman addresses this by assigning to the musical score the function of identification: Any performance which complies with the score constitutes an instance of the work. Moreover, Goodman's account of expression and style recognizes the score's non-notational elements as instrumental to the aesthetic qualities of the performance. ;Goodman's theoretical account is then applied to the work of Glenn Gould. First, Gould's consideration of the performer as co-creator is identified as instrumental in determining the aesthetic features of his performances. The interpretive autonomy afforded by his perspective, it is argued, led to the development of a performance and compositional style characterized by a predilection for a manifestly contrapuntal rather than hierarchical structure. Gould's performances and compositions are shown to express views of an ethical as well as aesthetic nature, contributing to what Goodman terms "worldmaking," affirming the symbolic function of music. ;In conclusion, the performer's view of the performer-composer relationship is fundamental and determinant in defining the aesthetic features of the musical performance. (shrink)

Visual space can be distinguished from physical space. The first is found in visual experience, while the second is defined independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non-Euclidean, and that it does not have a single metric structure. Here it is argued that visual space exhibits contraction in all three dimensions with increasing distance from the observer, that experienced features of this contraction are not the same as (...) would be the experience of a perspective projection onto a fronto-parallel plane, and that such contraction is consistent with size constancy. These properties of visual space are different from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal correspondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...) there are different kinds of aesthetic experiences . By means of certain conceptual links, it is possible to extend this account to other aesthetic entities thus enabling the formulation of a general theory of the aesthetic in non-aesthetic terms. In particular, aesthetic values are identical with subjective dispositions to elicit aesthetic experiences under normal conditions. Accordingly, I endorse anti-realism about aesthetic values: their existence, nature and exemplification are mind-dependent, while their ascriptions to objects have genuine truth-values. I back up this account by arguing against the alternative positions that either take aesthetic values to be objective or deny the truth-aptness of their attributions. Furthermore, I put forward a relativist variant of anti-realism according to which ascriptions of different aesthetic values to a particular object are all correct, given that the aesthetic experiences involved are made under normal conditions and concern the same aesthetically nonevaluative features of that object. For there is no specifically aesthetic norm by means of which one of the faultless aesthetic experiences can be picked out as the only appropriate one. That aesthetic values nevertheless show a normative dimension is ensured by their conformity to a general account of values as capacities to satisfy, or dissatisfy, rational desires. (shrink)

The search for understanding is a major aim of science. Traditionally, understanding has been undervalued in the philosophy of science because of its psychological underpinnings; nowadays, however, it is widely recognized that epistemology cannot be divorced from psychology as sharp as traditional epistemology required. This eliminates the main obstacle to give scientific understanding due attention in philosophy of science. My aim in this paper is to describe an account of scientific understanding as an emergent feature of our mastering of different (...) (causal) explanatory frameworks that takes place through the mastering of scientific practices. Different practices lead to different kinds of representations. Such representations are often heterogeneous. The integration of such representations constitute understanding. (shrink)

Este artículo trata el problema de los objetos creados que pueden ser repetidos, como las obras musicales y las literarias. En la sección 2 presentamos una serie de desiderata intuitivos que toda teoría debe satisfacer. En las secciones 3 y 4 presentamos un silogismo disyuntivo extendido. Los objetos en cuestión pueden ser o bien universales concretos, particulares concretos, universales abstractos o particulares abstractos. Mostramos cómo es que las teorías que consideran que son cualquiera de las tres últimas opciones fracasan. Por (...) lo tanto, debemos entender a dichos objetos como universales concretos. En la sección 5 ofrecemos una teoría breve pero detallada de la naturaleza metafísica de los universales concretos para después mostrar cómo esta propuesta permite dar cuenta de los desiderata intuitivos a la vez que se evitan las objeciones presentadas en contra de teorías alternativas. (shrink)

This paper proposes an extensionalist analysis of computer simulations (CSs). It puts the emphasis not on languages nor on models, but on symbols, on their extensions, and on their various ways of referring. It shows that chains of reference of symbols in CSs are multiple and of different kinds. As they are distinct and diverse, these chains enable different kinds of remoteness of reference and different kinds of validation for CSs. Although some methodological papers have already underlined the role of (...) these various relationships of reference in CSs and of cross-validations, this diversity is still overlooked in the epistemological literature on CSs. As a consequence, a particular outcome of this analytical view is an ability to classify existing epistemological theses on CSs according to what their authors choose to select and put at the forefront: either the extensions of symbols, or the symbol-types, or the symbol-tokens, or the internal denotational hierarchies of the CS or the reference of these hierarchies to external denotational hierarchies. Through the adoption of this extensionalist view, it also becomes possible to explain more precisely the reasons why some complete reduction of CSs to classical epistemic paradigms such as “experiment” or “theoretical argument” remains doubtful. On this last point, in particular, this paper is in agreement with what many epistemologists already have acknowledged. (shrink)

I argue for three main claims about Leibniz. (1) He views representation as a kind of structural correspondence between the representing thing and its target. (2) The primary sense in which he considers a perception or representation distinct, as opposed to confused, concerns the degree to which its structure is explicit or consciously accessible. (3) This is also the sense in which he takes concepts or ideas to be distinct.

The aim of this thesis is to increase our ontological understanding of musical works in two ways. We’ll increase our understanding of their categorial nature and we’ll increase our understanding of what the identity of each musical work consists in. In chapter 1, I introduce the basic question of the thesis: what are musical works? This question is broken down into four separate questions which guide the structure and argument of the thesis. One question asks if musical works exist, the (...) other asks about the ontological category to which musical works belong. In the first half of the thesis, I argue that musical works exist and that the best explanation of their features is given by assigning them to the category of universals. I argue for this conclusion by elaborating and defending a view according to which musical works are properties. I then show that this conception is superior to the strongest rivals. One rival takes musical works to be historical individuals (Rohrbaugh 2003). The other takes them to be actions of composition (Davies 2004). In chapter 6, I turn to two questions about identity. One question asks about the identity criteria for musical works, the other question asks for an explanation of musical work identity. In the remainder of chapter 6, I argue by reference to contextualist intuitions that a superficially appealing view, sonicism is problematic. The critique of sonicism is used to draw out certain contextualist assumptions that our ontology of music ought to explain. In chapter 7, I examine a family of Levinsonian contextualist proposals. I argue that the original formulations (Levinson 1980) give incorrect results, and that attempts to modify them (Davies, S: 2001) slip into obscurity, or undermine the aims of the project (Levinson 1992). I end chapter 7 by presenting the performance theory in a more flattering light. I argue that as a theory of musical work identity, the performance theory is the best on the market because it overcomes the problems associated with the Levinsonian views and deepens our understanding of contextualist intuitions. In chapter 8, I present an account of the ontology of music which integrates the property theory of category with the performance theory of identity by construing musical works as impure relational properties. I then defend the integrated account against various objections. In this defence, I elaborate a view of compositional actions as belonging to the ontological category of processes. (shrink)

Scientific models are important, if not the sole, units of science. This thesis addresses the following question: in virtue of what do scientific models represent their target systems? In Part i I motivate the question, and lay out some important desiderata that any successful answer must meet. This provides a novel conceptual framework in which to think about the question of scientific representation. I then argue against Callender and Cohen’s attempt to diffuse the question. In Part ii I investigate the (...) ideas that scientific models are ‘similar’, or structurally morphic, to their target systems. I argue that these approaches are misguided, and that at best these relationships concern the accuracy of a pre-existing representational relationship. I also pay particular attention to the sense in which target systems can be appropriately taken to exhibit a ‘structure’, and van Fraassen’s recent argument concerning the pragmatic equivalence between representing phenomena and data. My next target is the idea that models should not be seen as objects in their own right, but rather what look like descriptions of them are actually direct descriptions of target systems, albeit not ones that should be understood literally. I argue that these approaches fail to do justice to the practice of scientific modelling. Finally I turn to the idea that how models represent is grounded, in some sense, in their inferential capacity. I compare this approach to anti-representationalism in the philosophy of language and argue that analogous issues arise in the context of scientific representation. Part iii contains my positive proposal. I provide an account of scientific representation based on Goodman and Elgin’s notion of representation-as. The result is a highly conventional account which is the appropriate level of generality to capture all of its instances, whilst remaining informative about the notion. I illustrate it with reference to the Phillips-Newlyn machine, models of proteins, and the Lotka-Volterra model of predator-prey systems. These examples demonstrate how the account must be understood, and how it sheds light on our understanding of how models are used. I finally demonstrate how the account meets the desiderata laid out at the beginning of the thesis, and outline its implications for further questions from the philosophy of science; not limited to issues surrounding the applicability of mathematics, idealisation, and what it takes for a model to be ‘true’. (shrink)

The article is dedicated to the revelation of heuristic potential of hermeneutic image conception within discussions on contemporary visual culture. H. G. Gadamer has analysed the image as the visual, spatial and social phenomenon expanding and thereby transforming the accustomed notion of iconic experience. The image is not primarily an object of research for aesthetics and art criticism, but a social phenomenon which has to be considered in its real and imagined character as well as in its interrelations with the (...) lived world structures. By blurring boundaries between art and life in his image theory Gadamer opens up an array of opportunities for the analysis of iconic practices in all their variety: from science to theater. (shrink)

Understanding scientific modelling can be divided into two sub-projects: analysing what model-systems are, and understanding how they are used to represent something beyond themselves. The first is a prerequisite for the second: we can only start analysing how representation works once we understand the intrinsic character of the vehicle that does the representing. Coming to terms with this issue is the project of the first half of this chapter. My central contention is that models are akin to places and characters (...) of literary fictions, and that therefore theories of fiction play an essential role in explaining the nature of model-systems. This sets the agenda. Section 2 provides a statement of this view, which I label the fiction view of model-systems, and argues for its prima facie plausibility. Section 3 presents a defence of this view against its main rival, the structuralist conception of models. In Section 4 I develop an account of model-systems as imagined objects on the basis of the so-called pretence theory of fiction. This theory needs to be discussed in great detail for two reasons. First, developing an acceptable account of imagined objects is mandatory to make the fiction view acceptable, and I will show that the pretence theory has the resources to achieve this goal. Second, the term ‘representation’ is ambiguous; in fact, there are two very different relations that are commonly called ‘representation’ and a conflation between the two is the root of some of the problems that beset scientific representation. Pretence theory provides us with the conceptual resources to articulate these two different forms of representation, which I call p-representation and t-representation respectively. Putting these elements together provides us with a coherent overall picture of scientific modelling, which I develop in Section 5. (shrink)

This thesis begins with a succinct survey of theories of depiction and then turns to two highly influential contemporary philosophical accounts, namely, the aspect-recognition theory proposed by Dominic McIver Lopes, and Robert Hopkins’s experienced resemblance theory. The latter two theories of pictorial representation are presented in detail before objections to both accounts are presented and assessed. One of the central contentions of the thesis is that the aspect-recognition theory succumbs to a number of serious objections. First of all, this account (...) rests upon a philosophically problematic notion of semantic information and consequently fails to account adequately for the possibility of misrepresentation. Arguably the theory entails that all pictures are misrepresentational. It is also argued that Lopes’s claim that all pictures are belief-independent is unsound. Criticisms of Hopkins’s account of depiction developed in the thesis focus on problems raised by photographic depiction as well as ways in which the ambiguity of the notion of ‘experienced resemblance’ blurs the distinction between misrepresentation and indeterminacy of outline shape. It is also contended that a notion that is fundamental to Hopkins’s account--experienced resemblance in outline shape—leads to problems that are at least as serious as those it would appear to solve. The thesis concludes with a brief assessment of the state of the art of philosophical accounts of depiction. While progress has been made, especially with regard to the clarification of key questions, we still do not have anything like a comprehensive final theory of depiction. (shrink)

Despre necesitatea şi utilitatea dezvoltării unei filosofii specifice tehnologiei blockchain, accentuând pe aspectele ontologice. După o Introducere în care evidenţiez principalele direcţii filosofice pentru această tehnologie emergentă, în Tehnologia blockchain explicitez modul de funcţionare al blockchain, punând în discuţie direcţiile ontologice de dezvoltare în Proiectarea şi Modelarea acestei tehnologii. Următoarea secţiune este dedicată principalei aplicaţii a tehnologiei blockchain, Bitcoin, cu implicaţiile sociale ale acestei criptovalute. Urmează o secţiune de Filosofie în care identific tehnologia blockchain cu conceptul de heterotopie dezvoltat de (...) Michel Foucault şi o interpretez în lumina tehnologiei notaţionale dezvoltată de Nelson Goodman ca sistem notaţional. În secţiunea Ontologii dezvolt două direcţii de dezvoltare considerate de mine ca importante: Ontologia narativă, bazată pe ideea de ordine şi structură a istoriei transmise prin naraţia istoriei a lui Paul Ricoeur, şi un sistem ontologic bazat pe Ontologiile de intreprindere, bazat pe conceptele şi modelele de intreprindere specifice webului semantic, şi pe care eu îl consider cel mai bine dezvoltat şi cel care va deveni, probabil, sistemul ontologic formal, cel puţin în ceea ce priveşte aspectele economice şi juridice ale tehnologiei blockchain. În Concluzii vorbesc despre direcţiile viitoare de dezvoltare a filosofiei tehnologiei blockchain în general ca o teorie explicativă şi robustă din punct de vedere fenomenologic, consistentă şi care să permită testabilitatea, şi a ontologiilor în special, argumentând pentru necesitatea unei adopţii globale a unui sistem ontologic pentru a dezvolta soluţii transversale şi a rentabiliza tehnologia. -/- Cuvinte cheie: filosofie, blockchain, ontologie, bitcoin, proiectare, modele -/- CUPRINS -/- Abstract Introducere Tehnologia blockchain - - - Proiectare - - - Modele Bitcoin Filosofia Ontologii - - - Ontologii narative - - - Ontologii de intreprindere Concluzii Note Bibliografie -/- DOI: 10.13140/RG.2.2.25492.35204. (shrink)

My real position is that logic is a mere sub-branch of rhetoric, but in this paper I only try to show an area of overlap. Certain usages in logical work are metaphorical, and I argue that this has pernicious effects in a discipline assumed strictly literal. Among these pernicious effects are the bizarre and fruitless focus of philosophy of mathematics on the pseudo-problems of foundations and objects. I mostly examine the locution 'logical construction' and a range of associated metaphors. Some (...) sketchy remarks on the history of rhetoric are offered in explanation. (shrink)

Abstract: The so-called “crisis of the humanities” can be understood in terms of an asymmetry between the natural and social sciences on the one hand and the humanities on the other. While the sciences approach topics related to human experience in quantificational or experimental terms, the humanities turn to ancient, canonical, and other texts in the search for truths about human experience. As each approach has its own unique limitations, it is desirable to overcome or remove the asymmetry between them. (...) The present article seeks to do just that by advancing and defending the following two claims: (a) that humanity is ubiquitous wherever language is used; and (b) that anything that can be experienced by humans is in need of an interpretation. Two arguments are presented in support of these claims. The first argument concerns the nature of questions, which are one of the fundamental marks or manifestations of human language. All questions are ultimately attempts to find meanings or interpretations of what is presented. As such, in questioning phenomena, one seeks to transcend the negative space or oppression of imposed structures; in doing so, one reveals one’s humanity. Second, all phenomena are textual in nature: that which astrophysicists find in distant galaxies or which cognitive neuroscientists find in the structures of the human brain are no less in need of interpretation than the dialogues of Plato or the poems of Homer. Texts are ubiquitous. The implications of these two arguments are identified and discussed in this article. In particular, it is argued that the ubiquity of humanity and textuality points to a view of human nature that is neither individualistic nor collectivist but rather integrational in suggesting that the realization of oneself is inseparable from the realization of others. (shrink)

There is much discussion about whether the human mind is a computer, whether the human brain could be emulated on a computer, and whether at all physical entities are computers (pancomputationalism). These discussions, and others, require criteria for what is digital. I propose that a state is digital if and only if it is a token of a type that serves a particular function - typically a representational function for the system. This proposal is made on a syntactic level, assuming (...) three levels of description (physical, syntactic, semantic). It suggests that being digital is a matter of discovery or rather a matter of how we wish to describe the world, if a functional description can be assumed. Given the criterion provided and the necessary empirical research, we should be in a position to decide on a given system (e.g. the human brain) whether it is a digital system and can thus be reproduced in a different digital system (since digital systems allow multiple realization). (shrink)

Here we enrich Paul Weirich’s thesis holding that a simulation model can create knowledge in the form of causal explanations. We sustain the validity of exporting results from the model to the modelized world in virtue of the similarity between model and world, which is analyzable in terms of partial identity of structure, eliminating the superficial similarity that repeats empirical results by adjusting data via calibration. The structure of relations rescues from the world critical results to analyze such similarity, as (...) so certain properties which condition the kind of relations held between the elements of the model representing entities of the world. (shrink)

The central question of this thesis is how one can learn about particular targets by using models of those targets. A widespread assumption is that models have to be representative models in order to foster knowledge about targets. Thus the thesis begins by examining the concept of representation from an epistemic point of view and supports an account of representation that does not distinguish between representation simpliciter and adequate representation. Representation, understood in the sense of a representative model, is regarded (...) as a success term. That is, a representative model is one relatum in a relation of adequate representation (Chapter 2). When a representative model represents a target, it allows users of this model to learn something about the target. It is argued that a representative model has this epistemic function because it shares relevant features with the target. This presupposes a similarity view of representation. Similarity views of representation face serious objections, which will be rebutted (Chapter 3). One way of spelling out a similarity view of representation is to defend an indirect view of representation. In this thesis, which does not argue for an indirect view, it is assumed that the indirect view is a good option, if not the best, for articulating the similarity view. It is demonstrated how such an indirect view can be expanded to account for cases of technological modeling. A case study in bioengineering is used to show that the indirect view of representation must acknowledge a distinction between two directions of fit in relations between vehicles and targets. In this context the notion of design is interpreted as a relation between a vehicle and a target, thereby connecting ideas from philosophy of science with ideas from philosophy of technology (Chapter 4). Fictionalist accounts of models are intended to tackle the issue of the ontology of models. In this thesis, however, two prominent fictionalist accounts are discussed from an epistemological point of view in light of the central question regarding how one can learn about targets by using models. This question is addressed from the standpoint of Waltonian fictionalism. The result of the discussion is that the two discussed Waltonian fictionalist accounts cannot sufficiently answer the question. These accounts are criticized for their inability to deliver a satisfactory epistemology of representation (Chapter 5). Although Waltonian fictionalism is criticized, the present thesis also shows that the foundational theory of Waltonian fictionalism, the theory of make-believe can nevertheless be used to account for the distinction between projections and predictions that is made by the Intergovernmental Panel on Climate Change (Chapter 6). (shrink)

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are mental (...) actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (shrink)

In his lucid and helpful reply, Chris Drain (2021) clarifies some of his views and aims and offers pertinent criticisms of my own. Drain refocuses my forays into Pittsburgh Hegelianism onto Vygotsky’s own thought. He rightly notes that Brandom’s account of deontic scorekeeping tells us nothing about phylogenesis. Sellars too has little to say about the origins of language and social practice and I would endorse the projects of those who turn to Tomasello to fill such gaps (Koons 2018). However, (...) I still do not think Drain has got Vygotsky’s Hegel right. I do not think one can substitute “Hegelian” for “Janetian”, and I hope to show why this matters. -/- Drain also objects to my characterization of Tomasello as Cartesian. There is of course a long line of philosophers from Deleuze to Dennett charging all those who fall across their path with covert Cartesianism. I will not besmirch this venerable custom here. In my reply I contrast the Hegelian-Marxist approach to language of Vygotsky with the Cartesian approach of Tomasello. I conclude by suggesting some active research programmes which overcome this Cartesiansim while following the trajectories of Vygotsky’s own project. (shrink)

Se considera que la ciencia es el espejo de la naturaleza, mientras que el arte imita la vida. De ser así, las representaciones en ambas disciplinas deberían asemejarse a sus objetos. En contra de tales teorías miméticas, argumento que la ejemplificación y no la simple semejanza es crucial. Explico en qué consiste la ejemplificación: una relación referencial de un ejemplar con alguna de sus características. Puesto que la ejemplificación es selectiva, un ejemplar puede diferir de su referente en aspectos no (...) ejemplificados. Ésta es la razón por la cual una idealización, que estrictamente es falsa, puede ofrecer comprensión del fenómeno que le concierne. A partir de analogías con las representaciones pictóricas, muestro cómo un modelo ejemplifica características que comparte con su objeto, pone de relieve la importancia de tales características y con ello proporciona comprensión del sistema en cuestión. (shrink)

In Connectionism and the Philosophy of Psychology, Horgan and Tienson (1996) argue that cognitive processes, pace classicism, are not governed by exceptionless, “representation-level” rules; they are instead the work of defeasible cognitive tendencies subserved by the non-linear dynamics of the brain’s neural networks. Many theorists are sympathetic with the dynamical characterisation of connectionism and the general (re)conception of cognition that it affords. But in all the excitement surrounding the connectionist revolution in cognitive science, it has largely gone unnoticed that connectionism (...) adds to the traditional focus on computational processes, a new focus – one on the vehicles of mental representation, on the entities that carry content through the mind. Indeed, if Horgan and Tienson’s dynamical characterisation of connectionism is on the right track, then so intimate is the relationship between computational processes and representational vehicles, that connectionist cognitive science is committed to a resemblance theory of mental content. (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)

In this paper I propose an account of representation for scientific models based on Kendall Walton’s ‘make-believe’ theory of representation in art. I first set out the problem of scientific representation and respond to a recent argument due to Craig Callender and Jonathan Cohen, which aims to show that the problem may be easily dismissed. I then introduce my account of models as props in games of make-believe and show how it offers a solution to the problem. Finally, I demonstrate (...) an important advantage my account has over other theories of scientific representation. All existing theories analyse scientific representation in terms of relations, such as similarity or denotation. By contrast, my account does not take representation in modelling to be essentially relational. For this reason, it can accommodate a group of models often ignored in discussions of scientific representation, namely models which are representational but which represent no actual object. (shrink)

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

The years 1880-1914 were a time of intense experimentation in the visual arts. Representative conventions became variable, and artists deliberately departed from a concept of depiction considered as physical resemblance or photographic similarity. Visual representations progressed toward a conceptualization of figures and objects that transcended perceptual data, and the rendering of pictorial objects turned into an experiment involving complex visualization processes. This paper explores the interplay between artistic and scientific representative practices between 1880 and 1914. I argue that science and (...) technology acted as substantial challenges upon the concept of resemblance in art and that the rhythm of scientific and technological discoveries at the turn of the 20th century paralleled a shift from a notion of similarity to one of homomorphism in the conceptualization of pictorial representation. Homomorphism denotes representations which dispense with a point-to-point correspondence between depicted objects and perceptual data. I developed the concept from a scholarly study of Charles S. Peirce’s pragmatic account of representation, and in particular his theory of iconicity. Peirce defined iconic signs as “partaking in the character of the object” (CP 4.531), that is, as preserving the same relational structure as their object. A theory of iconicity as homomorphism successfully exemplifies representative relations based on structure preservation. Applied to 20th century representative practice, homomorphism offers a plausible explanation for representations in which a considerable conceptual effort is required, independently of a point-to-point correspondence between depicted objects and perceptual data. Using four case studies - the photographer Alfred Stieglitz and the painters André Derain, Max Weber and Pablo Picasso - I argue that representative practice between 1880 and 1914 was strongly informed by experimental scientific practices and that the shift from figurative to conceptual representation in art was triggered by a more significant theoretical shift involving representation as a general philosophical notion. Rather than a normative quest for the necessary and sufficient conditions for representation, I will propose a pragmatic evaluation of the means and strategies through which artists and scientists devise perspicuous and useful representations of the world. My analysis of the correlations between artistic and scientific representations at the turn of the 20th century aims to fulfill a twofold purpose. From a historical viewpoint, it draws significant parallels between the experimental aspects of representative practices in art and science considered as ways of exploring natural phenomena and intervening upon them. From a philosophical viewpoint, my goal is to propose a novel epistemological framework to assess how the shift in the conceptualization of representations affected subsequent styles of knowing and experimental practices in art and science. Ultimately, by combining the relative merits of historical and philosophical accounts of representation, I will argue for the advantages and desirability of a philosophically informed history of representative practice. (shrink)