We discuss external and internal graphical and linguistic representational systems. We argue that a cognitive theory of peoples' reasoning performance must account for (a) the logical equivalence of inferences expressed in graphical and linguistic form; and (b) the implementational differences that affect facility of inference. Our theory proposes that graphical representations limit abstraction and thereby aid processibility. We discuss the ideas of specificity and abstraction, and their cognitive relevance. Empirical support comes from tasks (i) involving and (ii) not involving the (...) manipulation of external graphics. For (i), we take Euler's Circles, provide a novel computational reconstruction, show how it captures abstractions, and contrast it with earlier construals, and with Mental Models' representations. We demonstrate equivalence of the graphical Euler system, and the non-graphical Mental Models system. For (ii), we discuss text comprehension, and the mental performance of syllogisms. By positing an internal system with the same specificity as Euler's Circles we cover the Mental Models data, and generate new empirical predictions. Finally, we consider how the architecture of working memory explains why such specific representations are relatively easy to store. (shrink)

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will (...) find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate ‘‘automatic’’ modes of (...) understanding. This account is then critiqued, and contrasted with views on aesthetic experience that stress its nonconceptual and asemiotic aspects, and the close affinity of this modality of experience with perceptual presence and affective intensity, with a clear reference to the phenomenological tradition. Some recent ideas about how semiotic and phenomenological theories regarding art can interact are then cited, and an undertheorized aspect of their connection introduced, which is the main original import of the article. This connection, which is furnished by the concept of aisthetic trait, is derived from psychoanalytic metapsychology, and is an example of how the meaning and presence effects of art can act not just in a competing synchronic fashion, but can morph into each other over time. A trait is a signifier-like perceptual remnant of a prior subjective experience of high intensity that provides a kind of ratification of the experience that endures within the life history of an individual. This is then shown to have relevance to the previous topics of aesthetic negativity and autonomy in terms of the way that the trait mechanism may bring to light important diachronic aspects of aesthetic experience that are currently absent in other accounts in the literature. (shrink)

Different why-questions emerge under different contexts and require different information in order to be addressed. Hence a relevance relation can hardly be invariant across contexts. However, what is indeed common under any possible context is that all explananda require scientific information in order to be explained. So no scientific information is in principle explanatorily irrelevant, it only becomes so under certain contexts. In view of this, scientific thought experiments can offer explanations, should we analyze their representational strategies. Their representations involve (...) empirical as well as hypothetical statements. I call this the “representational mingling” which bears scientific information that can explain events. Buchanan’s thought experiment from constitutional economics is examined to show how mingled representations explain. (shrink)

Everyone appreciates a clever mathematical picture, but the prevailing attitude is one of scepticism: diagrams, illustrations, and pictures prove nothing; they are psychologically important and heuristically useful, but only a traditional verbal/symbolic proof provides genuine evidence for a purported theorem. Like some other recent writers (Barwise and Etchemendy [1991]; Shin [1994]; and Giaquinto [1994]) I take a different view and argue, from historical considerations and some striking examples, for a positive evidential role for pictures in mathematics.

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

Представляя доксологию как постфеноменологический способ решения эпистемических и перцептивных проблем, автор обращается к истории открытия в конце XIX в. палеолитической наскальной живописи и к данным современных когнитивных наук. Восприятие и познание не являются отражением объективной реальности, это – особая творческая деятельность людей, обусловленная как биологическими, так и социокультурными факторами. Используя принципы Э. Кассирера, Л. Флека, П. Бурдье и Ж. Деррида, автор дает очерк сложного переплетения биологических и социальных факторов в процессе восприятия, анализируя первые попытки осмысления так называемого «пещерного искусства», и (...) пытается дать ответ на вопрос, как мы, люди, создаем новое знание, которое необходимо нам для жизни в мире (см. также [Розенгрен 2012, 63–72]). Человеческое знание никогда не было и не будет эпистемическим (в платоновском смысле), так как у людей нет привилегированного доступа к реальности самой по себе. Защищая эту идею, автор дает доксологическую трактовку тезиса Протагора о человекомерности (см. также: [Розенгрен 2014, 171–178]) и, по сути, говорит о необходимости отказаться от принципов метафизической теории познания. Он предлагает исходить из наблюдаемой ситуативности и изменчивости нашего знания. (shrink)

Building on Christopher Peacocke’s account of analog perceptual contentand my own account of analog perceptual vehicles, I defend three claims: that theperception of magnitudes often has analog contents; that the perception of magni-tudes often has analog vehicles; and that the first claim is true in virtue of the second—that is, the analog vehicles help to ground the analog contents.

Conceptul de heterotopie digitală implică o modalitate de a descrie și analiza relația specială și evolutivă dintre statul contemporan și banii digitali, inclusiv criptovalutele derulate prin blockchain. Caracteristicile statului sunt afectate prin conexiunea cu monedele digitale. Sistemele sociale își creează propriile limite și se mențin în viață conform logicii lor interne, care nu derivă din mediul sistemului. Deci, sistemele sociale sunt închise din punct de vedere operațional și autonome - interacționează cu mediul lor și există o creștere generală a entropiei, (...) dar sistemele individuale lucrează pentru a se menține și pentru a-și păstra ordinea internă. DOI: 10.13140/RG.2.2.12790.75843. (shrink)

Philosophers have traditionally inclined toward one of two opposite extremes when it comes to metaphor. On the one hand, partisans of metaphor have tended to believe that metaphors do something different in kind from literal utterances; it is a ‘heresy’, they think, either to deny that what metaphors do is genuinely cognitive, or to assume that it can be translated into literal terms. On the other hand, analytic philosophers have typically denied just this: they tend to assume that if metaphors (...) express any genuine content at all, then that content can in principle be paraphrased into literal terms. They often conclude on this basis that metaphor is theoretically dispensable, and so that it poses no special challenges and affords no distinctive insights for the philosophy of language and mind. (shrink)

Truth is standardly considered a requirement on epistemic acceptability. But science and philosophy deploy models, idealizations and thought experiments that prescind from truth to achieve other cognitive ends. I argue that such felicitous falsehoods function as cognitively useful fictions. They are cognitively useful because they exemplify and afford epistemic access to features they share with the relevant facts. They are falsehoods in that they diverge from the facts. Nonetheless, they are true enough to serve their epistemic purposes. Theories that contain (...) them have testable consequences, hence are factually defeasible. (shrink)

John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...) picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Carroll, Ponech and Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Currie’s account can do so by relying on the notion of trace but this involves an undesirable side-effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces of their subjects, as for (...) instance documentaries that resort to reenactments. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? The paper affirmatively answers to this question by relying on the notion perceptual belief, that is, a belief that one can form by endorsing one's perception. Documentaries are defined as films that mandate us to form perceptual beliefs. Even if a docudrama mandates us to form beliefs, it does not mandate us to form perceptual beliefs, and thus does not count as a documentary. By contrast, a documentary that resorts to reenactments still mandates us to form perceptual beliefs and thus properly satisfies the definition proposed. (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)

The main goal of this essay is to propose and make plausible a framework for developing a philosophical account of musical notation. The proposed framework countenances four elements of notation: symbols (abstract objects that collectively constitute the backbone of a ‘system’ of notation), their characteristic ‘forms’ (for example, shapes, understood abstractly), the concrete instances, or ‘engravings’, of those forms, and the meanings of the symbols. It is argued that these elements are distinct. Along the way, several preliminary arguments are given (...) for how one ought to understand them—for example, it is suggested that engravings represent symbols rather than instantiate forms, although they are characteristically seen to represent a symbol by being seen to instantiate an associated form. Having proposed this framework, the essay explores the nature of musical instructions, as the meanings of symbols, and offers an argument in favor of the commonly held (but recently challenged) view that those meanings are imperative. Specifically, composites of musical notation (paradigmatically, musical scores) primarily express instructional meaning, and denote something like ‘sonic structures’ only secondarily, in virtue of their primary, imperative, meaning. (shrink)

Proponents of mindshaping argue that third-person folk psychology is not primarily about "reading" mental states for the purpose of behavior prediction and explanation. Instead, they claim that third-person folk psychology is first and foremost a regulative practice -- one that "shapes" mental states in accordance with the norms of a shared folk psychological framework. This paper investigates to what extent the core assumptions behind the mindshaping hypothesis are compatible with an account of first-person folk psychology that is based on the (...) notion of "self-regulative agency.". (shrink)

We have seen that a musical score is in a notation and defines a work; that a sketch or picture is not in a notation but is itself a work; and that a literary script is both in a notation and is itself a work. Thus in the individual arts a work is differently localized. In painting, the work is an individual object; and in etching, a class of objects. In music, the work is the class of performances compliant with (...) a character. In literature, the work is the character itself. And in calligraphy, we may add, the work is an individual inscription. (shrink)

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...) in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

Midwest Studies In Philosophy, EarlyView.

What is the difference between a reading of a play and a performance of it? In both, the same text is uttered. Both may occur on stage. In both different people may recite the lines of different characters. But unlike a mere reading, in a performance of a play what happens on stage conforms to the text being pronounced.

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)

This essay raises a challenge for the perceptual theory of emotion. According to the perceptual theory, emotions are perceptual states that represent values. But if emotions represent values, something should explain why. In virtue of what do emotions represent the values they do? A psychosemantics would answer this, and that’s what the perceptual theorist owes us. To date, however, the only perceptual theorist to attempt a psychosemantics for emotion is Jesse Prinz. And Prinz’s theory, I argue, faces an important difficulty: (...) It makes the pairing of any given emotion with its respective value entirely arbitrary. But that’s a problem. It seems—and this is a major contention of this essay—that an emotion, in virtue of how it feels, bears a natural or non-arbitrary link to the value it represents. And this datum makes it all the more difficult to provide a viable psychosemantics for the evaluative content of emotion. (shrink)

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

Cognitive representations are typically analysed in terms of content, vehicle and format. While current work on formats appeals to intuitions about external representations, such as words and maps, in this paper we develop a computational view of formats that does not rely on intuitions. In our view, formats are individuated by the computational profiles of vehicles, i.e., the set of constraints that fix the computational transformations vehicles can undergo. The resulting picture is strongly pluralistic, it makes space for a variety (...) of different formats, and is intimately tied to the computational approach to cognition in cognitive science and artificial intelligence. (shrink)

The goal of this paper is to challenge the rather insouciant attitude that many investigators seem to adopt when they go about describing the items and events in their " visual fields". There are at least three distinct categories of interpretation of what these reports might mean, and only under one of those categories do those reports have anything resembling an observational character. The others demand substantive revisions in one's beliefs about what one sees. The ur-concept of a " visual (...) field" is that of the "sum of things seen", but one can interpret the latter in very different ways. The first is the "field of view", or the sum of physical things seen. The second is an array of visual impressions, whose spatial relations are distinct from those of physical phenomena in front of the eyes. The third is an intentional object: the world as it is represented visually. These three categories are described, and various locutions of vision science--such as "optic array", "retinocentric space", " visual geometry", "virtual object" and others--are analyzed and variously located within them. Finally, a recent argument purporting to necessitate the existence of a version two visual field is examined and shown wanting. (shrink)

I argue that analogue mental representations possess a canonical decomposition into privileged constituents from which they compose. I motivate this suggestion, and rebut arguments to the contrary, through reflection on the approximate number system, whose representations are widely expected to have an analogue format. I then argue that arguments for the compositionality and constituent structure of these analogue representations generalize to other analogue mental representations posited in the human mind, such as those in early vision and visual imagery.