Difference and Repetition might be said to have brought about a Deleuzian Revolution in philosophy comparable to Kant’s Copernican Revolution. Kant had denounced the three great terminal points of traditional metaphysics – self, world and God – as transcendent illusions, and Deleuze pushes Kant’s revolution to its limit by positing a transcendental field that excludes the coherence of the self, world and God in favour of an immanent and differential plane of impersonal individuations and pre-individual singularities. In the process, he (...) introduces numerous conceptual innovations into philosophy: the becoming of concepts; a transformation of the form of the question; an insistence that philosophy must start in the middle; an attempt to think in terms of multiplicities; the development of a new logic and a new metaphysics based on a concept of difference; a new conception of space as intensive rather than extensive; a conception of time as a pure and empty form; and an understanding of philosophy as a system in heterogenesis – that is, a system that entails a perpetual genesis of the heterogeneous, an incessant production of the new. -/- Keywords: concepts, becoming, multiplicity, singularity, the middle [au milieu], difference, intensity, time, system, the new. (shrink)

In this paper, I develop and defend a new adverbial theory of perception. I first present a semantics for direct-object perceptual reports that treats their object positions as supplying adverbial modifiers, and I show how this semantics definitively solves the many-property problem for adverbialism. My solution is distinctive in that it articulates adverbialism from within a well-established formal semantic framework and ties adverbialism to a plausible semantics for perceptual reports in English. I then go on to present adverbialism as a (...) theory of the metaphysics of perception. The metaphysics I develop treats adverbial perception as a directed activity: it is an activity with success conditions. When perception is successful, the agent bears a relation to a concrete particular, but perception need not be successful; this allows perception to be fundamentally non-relational. The result is a novel formulation of adverbialism that eliminates the need for representational contents, but also treats successful and unsuccessful perceptual events as having a fundamental common factor. (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)

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)

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)

This paper explores early Australasian philosophy in some detail. Two approaches have dominated Western philosophy in Australia: idealism and materialism. Idealism was prevalent between the 1880s and the 1930s, but dissipated thereafter. Idealism in Australia often reflected Kantian themes, but it also reflected the revival of interest in Hegel through the work of ‘absolute idealists’ such as T. H. Green, F. H. Bradley, and Henry Jones. A number of the early New Zealand philosophers were also educated in the idealist tradition (...) and were influential in their communities, but produced relatively little. In Australia, materialism gained prominence through the work of John Anderson, who arrived in Australia in 1927, and continues to be influential. John Anderson had been a student of Henry Jones, who might therefore be said to have influenced both main strands of Australian philosophical thought. (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)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Carnap and Goodman developed methods of conceptual re-engineering known respectively as explication and reflective equilibrium. These methods aim at advancing theories by developing concepts that are simultaneously guided by pre-existing concepts and intended to replace these concepts. This paper shows that Carnap’s and Goodman’s methods are historically closely related, analyses their structural interconnections, and argues that there is great systematic potential in interpreting them as aspects of one method, which ultimately must be conceived as a component of theory development. The (...) main results are: an adequate method of conceptual re-engineering must focus not on individual concepts but on systems of concepts and theories; the linear structure of Carnapian explication must be replaced by a process of mutual adjustments as described by Goodman; Carnap’s condition of similarity can be analysed into two components, one securing a relation to the specific extensions of the pre-existing concepts, one regulating the transition to the new system of concepts; these two criteria of adequacy can be built into Goodman’s account of reflective equilibrium to ensure that the resulting concepts promote theoretical virtues while being sufficiently similar to the concepts we started out with. (shrink)

The present paper investigates the first step of rational belief acquisition. It, thus, focuses on justificatory relations between perceptual experiences and perceptual beliefs, and between their contents, respectively. In particular, the paper aims at outlining how it is possible to reason from the content of perceptual experiences to the content of perceptual beliefs. The paper thereby approaches this aim by combining a formal epistemology perspective with an eye towards recent advances in philosophy of cognition. Furthermore the paper restricts its focus, (...) it concentrates on the case of color perception and perceptual beliefs about color. (shrink)

The aim of this article is to investigate the roles of commutative diagrams (CDs) in a specific mathematical domain, and to unveil the reasons underlying their effectiveness as a mathematical notation; this will be done through a case study. It will be shown that CDs do not depict spatial relations, but represent mathematical structures. CDs will be interpreted as a hybrid notation that goes beyond the traditional bipartition of mathematical representations into diagrammatic and linguistic. It will be argued that one (...) of the reasons why CDs form a good notation is that they are highly mathematically tractable: experts can obtain valid results by ‘calculating’ with CDs. These calculations, take the form of ‘diagram chases’. In order to draw inferences, experts move algebraic elements around the diagrams. It will be argued that these diagrams are dynamic. It is thanks to their dynamicity that CDs can externalize the relevant reasoning and allow experts to draw conclusions directly by manipulating them. Lastly, it will be shown that CDs play essential roles in the context of proof as well as in other phases of the mathematical enterprise, such as discovery and conjecture formation. (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)

Guthrie contends that religion can best be understood as systematic anthropomorphism - the attribution of human characteristics to nonhuman things and events. Religion, he says, consists of seeing the world as human like. He offers a fascinating array of examples to show how this strategy pervades secular life and how it characterizes religious experience.

Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...) cannot be plausibly solved by a musical perdurantist. (shrink)

According to the Perceptual Analysis of Emotional Expression, behaviors express emotions by making them perceptually manifest. A smile is an expression of joy because an observer who sees a smile can see joy. A pout is an expression of grief because an observer who sees a pout can see grief. And a growl is an expression of anger because an observer who hears a growl can hear anger. The idea is not simply that expressions can enable the perception of emotion, (...) but that expressions essentially do so. In the course of defending this analysis against challenges, I develop a novel account of the relationship between language and expression. (shrink)

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.

The paper is one of the four central texts where Clifford Geertz summarized his ideas. Geertz suggests an understanding of art as a social phenomenon and gives a social anthropological account of aesthetic experience. In opposition to structuralism, which analyzes art as a closed sign system developing according to its inherent logic, and to radical functionalism, which attempts to study art as if its main function was to maintain established institutions of culture, Geertz proposes to view a work of art (...) as a symbolical expression of the significant experience of its creator. In this case the ability of aesthetic perception of the work of art is treated as the ability to recognize the symbols it contains — the ability that results from involvement in the relevant cultural practices. Author illustrates his argument by the examples from the studies of that time: studies of Abelam tribe of New Guinea, Yoruba people of Western Africa, Quattrocento Italia, and modern Morocco. (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 robustness analysis, hypotheses are supported to the extent that a result proves robust, and a result is robust to the extent that we detect it in diverse ways. But what precise sense of diversity is at work here? In this paper, I show that the formal explications of evidential diversity most often appealed to in work on robustness – which all draw in one way or another on probabilistic independence – fail to shed light on the notion of diversity (...) relevant to robustness analysis. I close by briefly outlining a promising alternative approach inspired by Horwich’s (1982) eliminative account of evidential diversity. (shrink)

Central issues in philosophy of architecture include foundational matters regarding the nature of: (1) architecture as an artform, design medium, or other product or practice; (2) architectural objects—what sorts of things they are; how they differ from other sorts of objects; and how we define the range of such objects; (3) special architectural properties, like the standard trio of structural integrity (firmitas), beauty, and utility—or space, light, and form; and ways they might be special to architecture; (4) architectural types—how to (...) consider abstract groups of architectural objects and their instances; (5) meaning and other language-like phenomena in architecture and its objects; (6) formation of and warrant for our basic grasp, and considered judgment, of architectural objects; and (7) social and moral features of architectural objects and architectural practice. Yet other questions engage applied philosophical concerns regarding architecture, such as the character of architectural notation; intellectual property rights; and client-architect obligations. A far-reaching philosophy of architecture extends beyond even a broadly aesthetics-based assessment, to include considerations of ethics, social and political philosophy, and philosophical reflections on psychology and the behavioral sciences. The aesthetics of architecture, by itself, spans traditional issues mooted in philosophy of art, as well as aesthetics of the everyday, and environmental aesthetics. Such traditional issues include the nature of the work; the possibility of classes, kinds, or types in the domain; the character and roles of representation, intentionality, and expression; and the warranted foundations for criticism. The ethics of architecture also addresses traditional issues, including delineation of rights, responsibilities, the good, virtues, and justice in architectural milieus. Still other aspects of philosophy of architecture concern social and technological characteristics. (shrink)

The concept of representation has a vast and highly diverse extension. In this paper I distinguish four kinds of representation, viz. proxy, make-believe, and intentional representation, as well as representationsimpliciter. The bulk of the paper is devoted to intentional representation. I argue that the relation of intentional representation is non-reflexive, non-symmetrical, and non-transitive. I articulate a fundamental distinction between two aspects of the content of intentional representations, viz. subject and predicative content. Finally, I qualify and defend the distinction between iconic (...) and symbolic intentional representation. Along the way, I also argue that psychological intentions play a constitutive role in representation. (shrink)

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (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)

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)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. Nor is (...) her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the .. (shrink)

A recent and growing discussion in philosophy addresses the construction of models and their use in scientific reasoning by comparison with fiction. This comparison helps to explore the problem of mediated observation and, hence, the lack of an unambiguous reference of representations. Examining the usefulness of the concept of fiction for a comparison with non-denoting elements in science, the aim of this paper is to present reasonable grounds for drawing a distinction between these two kinds of representation. In particular, my (...) account will suggest a demarcation between fictional and non-fictional discourse as involving two different ways of interpreting representations. This demarcation, leading me to distinguish between fictional and non-fictional forms of enquiry, will provide a useful tool to explore to what extent the descriptions given by a model can be justified as making claims about the world and to what degree they are a consequence of the model’s particular construction. (shrink)

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)

In this paper, I argue that the indirect realists’ recourse to mental representations does not allow them to account for the possibility of hallucination, nor for the presentational character of visual experience. To account for the presentational character, I suggest a kind of intentionalism that is based on the interdependency between the perceived object and the embodied perceiver. This approach provides a positive account to the effect that genuine perception and hallucination are different kinds of states. Finally, I offer a (...) tentative suggestion as to how a hallucinatory experience may still be mistaken for a genuine perceptual experience. (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.

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)

The similarity view of scientific representation has recently been subjected to strong criticism. Much of this criticism has been directed against a ?naive? similarity account, which tries to explain representation solely in terms of similarity between scientific models and the world. This article examines the more sophisticated account offered by the similarity view's leading proponent, Ronald Giere. In contrast to the naive account, Giere's account appeals to the role played by the scientists using a scientific model. A similar move is (...) often made by defenders of resemblance theories of depiction, who invoke the role played by the artist, or by the viewers of a painting. In this article I look to debates over depiction to assess the difficulties facing those who wish to defend the similarity view of scientific representation. I then turn to examine Giere's account. Ultimately, I argue, this account is unsuccessful: while appealing to the role of scientists offers a promising way to defend the similarity view, Giere's own account does not capture what it is that scientists do when they use a model to represent the world. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (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)

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

It is through ritual that religions often express their deepest truths, and historians and anthropologists of religion have long recognized the impor-tance of its symbolic dimension. Yet it remains to be explained how religious rituals perform this function. That is, in what ways do ritual gestures symbolize or refer – reserving these two general terms to cover all ways of bearing semantic-like relations to objects, events, and states of affairs? In this essay I will take some first steps toward answering (...) this question by constructing a taxonomy of symbolic gestures in the rituals of Judaism, drawing for this purpose on various categories of reference, first distinguished by Nelson Goodman in his study of symbol systems, including the arts, and more recently elaborated by Israel Scheffler. (shrink)

Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says nothing at all (...) about the tragic catharsis in the Poetics except to state that tragedy accomplishes it. Though he gives a more complete account of catharsis in the Politics, the context of this passage is so different from that of the Poetics that its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of the Poetics according to which a tragedy is pleasurable in one respect and painful in another, and pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of the oikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view of catharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)