The ‘received view’ of the analog–digital distinction holds that analog representations are continuous while digital representations are discrete. In this paper I first provide support for the received view by showing how it (1) emerges from the theory of computation, and (2) explains engineering practices. Second, I critically assess several recently offered alternatives, arguing that to the degree they are justified they demonstrate not that the received view is incorrect, but rather that distinct senses of the terms have become entrenched (...) specific fields, perhaps most notably in the cognitive psychology of mental imagery. (shrink)

I argue that maps do not feature predication, as analyzed by Frege and Tarski. I take as my foil (Casati and Varzi, Parts and places, 1999), which attributes predication to maps. I argue that the details of Casati and Varzi’s own semantics militate against this attribution. Casati and Varzi emphasize what I call the Absence Intuition: if a marker representing some property (such as mountainous terrain) appears on a map, then absence of that marker from a map coordinate signifies absence (...) of the corresponding property from the corresponding location. Predication elicits nothing like the Absence Intuition. “F(a)” does not, in general, signify that objects other than a lack property F. On the basis of this asymmetry, I argue that attaching a marker to map coordinates is a different mode of semantic composition than attaching a predicate to a singular term. (shrink)

In this paper, I argue for three claims. The first is that the difference between analog and digital representation lies in the format and not the medium of representation. The second is that whether a given system is analog or digital will sometimes depend on facts about the user of that system. The third is that the first two claims are implicit in Haugeland's (1998) account of the distinction.

Representation is central to contemporary theorizing about the mind/brain. But the nature of representation--both in the mind/brain and more generally--is a source of ongoing controversy. One way of categorizing representational types is to distinguish between the analog and the digital: the received view is that analog representations vary smoothly, while digital representations vary in a step-wise manner. I argue that this characterization is inadequate to account for the ways in which representation is used in cognitive science; in its place, I (...) suggest an alternative taxonomy. I will defend and extend David Lewis's account of analog and digital representation, distinguishing analog from continuous representation, as well as digital from discrete representation. I will argue that the distinctions available in this four-fold account accord with representational features of theoretical interest in cognitive science more usefully than the received analog/digital dichotomy. (shrink)

Analog representation is often cast in terms of an engineering distinction between smooth and discrete systems. The engineering notion cuts across interesting representational categories, however, so it is poorly suited to thinking about kinds of representation. This paper suggests that analog representations support a pattern of interaction, specifically open-ended searches for content across levels of abstraction. They support the pattern by sharing a structure with what they represent. Continuous systems that satisfy the engineering notion are exemplars of this kind because (...) they are uninterpretable unless they are structure-preserving. Analog representations, so understood, include pictures, images, diagrams, and most graphs. This conception of analogicity also fits well with a line of thought about what makes perceptual states distinctive: they satisfy a “parts principle”. (shrink)

Problems concerning scientists’ uses of representations have received quite a bit of attention recently. The focus has been on how such representations get their contents and on just what those contents are. Less attention has been paid to what makes certain kinds of scientific representations different from one another and thus well suited to this or that epistemic end. This article considers the latter question with particular focus on the distinction between images and graphs on the one hand and descriptions (...) and related representations on the other. *Received January 2008; revised September 2009. †To contact the author, please write to: Department of Philosophy, Dartmouth College, Hanover, NH 03755; e‐mail: [email protected]. (shrink)

Summary Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.

This paper develops a theory of analog representation. We first argue that the mark of the analog is to be found in the nature of a representational system’s interpretation function, rather than in its vehicles or contents alone. We then develop the rulebound structure theory of analog representation, according to which analog systems are those that use interpretive rules to map syntactic structural features onto semantic structural features. The theory involves three degree-theoretic measures that capture three independent ways in which (...) a system can be more or less analog. We explain how our theory improves upon prior accounts of analog representation, provides plausible diagnoses for novel challenge cases, extends to hybrid systems that are partially analog and partially symbolic, and accounts for some of the advantages and disadvantages of representing analogically versus symbolically. (shrink)

Most research in the natural sciences passes through repeated cycles of a analytic reduction to the next lower level of organization, then resynthesis to the original level, then new analyticareduction, and so on. A residue of unexplained phenomena at the original level appears at first to require a holistic description independent of the lower level, but the residue shrinks as knowledge increases.This principle is well illustrated by recent studies from the social organization of insects, several examples of which are cited (...) here. In theory it should also apply to human social organization. Culture is biological: meaning in culture can be approached as the outcome of mechanism-based causation, because culture stems from individual cognition, which has a biological basis. It would seem to follow that the most effective way to study culture is across all levels of organization from gene to society, passing repetitively through a cycle of reduction and synthesis in the manner of the natural sciences. Reductionistic analysis is favored by the tendency of semantic memory and culture to occur in discrete units that are arranged hierarchically. (shrink)

We argue that one important aspect of the “cognitive neuroscience revolution” identified by Boone and Piccinini :1509–1534. doi: 10.1007/s11229-015-0783-4, 2015) is a dramatic shift away from thinking of cognitive representations as arbitrary symbols towards thinking of them as icons that replicate structural characteristics of their targets. We argue that this shift has been driven both “from below” and “from above”—that is, from a greater appreciation of what mechanistic explanation of information-processing systems involves, and from a greater appreciation of the problems (...) solved by bio-cognitive systems, chiefly regulation and prediction. We illustrate these arguments by reference to examples from cognitive neuroscience, principally representational similarity analysis and the emergence of dynamical models as a central postulate in neurocognitive research. (shrink)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. The (...) view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by (...) which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

Howard Gardner’s theory of Multiple Intelligences has had a huge influence on school education. But its credentials lack justification, as the first section of this paper shows via a detailed philosophical analysis of how the intelligences are identified. If we want to make sense of the theory, we need to turn from a philosophical to a historical perspective. This is provided in the second section, which explores how the theory came to take shape in the course of Gardner’s intellectual development. (...) The third section looks at changes in the theory since its inception in 1983 and at problems with its applications to education. The paper concludes with a response to Gardner’s critical comments on the argument to this point. (shrink)

Abstract This paper offers an appraisal of Phillip Pettit's approach to the problem how a merely finite set of examples can serve to represent a determinate rule, given that indefinitely many rules can be extrapolated from any such set. I argue that Pettit's so-called ethnocentric theory of rule-following fails to deliver the solution to this problem he sets out to provide. More constructively, I consider what further provisions are needed in order to advance Pettit's general approach to the problem. I (...) conclude that what is needed is an account that, whilst it affirms the view that agents' responses are constitutively involved in the exemplification of rules, does not allow such responses the pride of place they have in Pettit's theory. (shrink)

What are the prospects for a linguistic approach to ontology? Given that it seems that there are true subject-predicate sentences containing empty names, traditional linguistic approaches to ontology appear to be flawed. I argue that in order to determine what there is, we need to determine which sentences ascribe properties (and relations) to objects, and that there does not appear to be any formal criterion for this. This view is then committed to giving an account of what predicates do in (...) sentences when they do not ascribe properties. I sketch an approach to the varieties of predication. (shrink)

Plato’s most infamous discussions of poetry in the Republic, in which he both develops original distinctions in narratology and advocates some form of censorship, raises numerous philosophical and philological questions. Foremost among them, perhaps, is the puzzle of why he returns to poetry in Book X after having dealt with it thoroughly in Books II–III, particularly because his accounts of the “mimetic” aspect of poetry are, on their face, quite different. How are we to understand this double treatment? Here I (...) will focus on a single aspect of this question, the compatibility of the notion of μίμησις and its cognates in the two books. As Nickolas Pappas has said, “Whether Books 3 and 10 offer compatible accounts of mimêsis, and how one might make them compatible, remains the most controversial question about Plato’s aesthetics”.2 I will show that there is a single notion of μίμησις operative throughout, namely that of representation by resemblance. I will take an unusual tack. I will not begin with the most problematic part of Book III for this interpretation about poetic, linguistic μίμησις, but with the later sections on musical μίμησις. Once we have an account of this, I claim, it is easier to see how narrative μίμησις is also a kind of representation by resemblance. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...) Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention (...) to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Some singular terms are referentially empty by necessity. Oliver and Smiley have recently introduced the term ‘zilch’ for illustrating this kind of emptiness. The emptiness of ‘zilch’ is supposed to arise from the fact that its extension has been defined by a logically unsatisfiable condition. Casati and Fujikawa disagree with this explanation and claim that ‘zilch’ refers to some null thing. In this paper, I argue that neither of these positions is correct, since, for different reasons, they both misinterpret the (...) phenomenon of referential emptiness. As an alternative, I propose a representationalist account of emptiness, which can explain the properties of ‘zilch’ and similar terms more effectively. (shrink)

Straipsnyje analizuojama viena naujausių vizualinio mąstymo teorijų – Emmanuelio Alloa (at)vaizdų simptomatologija. Susitelkiant į (at)vaizdo statuso autonomiškumo problemą, kurią įvairiais būdais sprendžia vizualinio ir ikoninio posūkių atstovai, klausiama, koks yra (at)vaizdo statusas kalbos atžvilgiu. Straipsnyje yra grįžtama prie (at)vaizdų simptomatologijos ištakų, konkrečiai – Nelsono Goodmano bendrosios simbolių teorijos. Tai leidžia išryškinti Alloa siūlomo simptomo modelio naujumą ir reabilituoti simptomatologinio tyrimo statusą. Straipsnyje teigiama, kad (at)vaizdams priskiriamas ikoniškumo statusas kalbos atžvilgiu gali būti performuluojamas, iškeliant simptomo tapatybės klausimą. Šia prasme ikoniškumo simptomai (...) yra (at)vaizdų analizei pritaikomi įrankiai, leidžiantys aprašyti skirtingus (at)vaizdų ikoniškumo raiškos lygmenis. (shrink)

In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, (...) imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance.... (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)

El presente artículo se basa en la teoría de la creatividad artística de Jon Elster para tratar de ofrecer un esbozo de definición del concepto de arte, así como las bases para una teoría del valor artístico. Se sostiene que una obra de arte es una creación humana realizada con la intención de provocar una experiencia estética, así como que el principal valor de una obra de arte radica en su capacidad para producir emociones estéticas y no estéticas. Dicha concepción (...) pone en dificultades a algunas importantes formas de arte contemporáneo, como el arte conceptual. (shrink)

This paper argues for a representational semantic conception of scientific theories, which respects the bare claim of any semantic view, namely that theories can be characterised as sets of models. RSC must be sharply distinguished from structural versions that assume a further identity of ‘models’ and ‘structures’, which we reject. The practice-turn in the recent philosophical literature suggests instead that modelling must be understood in a deflationary spirit, in terms of the diverse representational practices in the sciences. These insights are (...) applied to some mathematical models, thus showing that the mathematical sciences are not in principle counterexamples to RSC. (shrink)

This paper defends an inferential conception of scientific representation. It approaches the notion of representation in a deflationary spirit, and minimally characterizes the concept as it appears in science by means of two necessary conditions: its essential directionality and its capacity to allow surrogate reasoning and inference. The conception is defended by showing that it successfully meets the objections that make its competitors, such as isomorphism and similarity, untenable. In addition the inferential conception captures the objectivity of the cognitive representations (...) used by science, it sheds light on their truth and completeness, and it explains the source of the analogy between scientific and artistic modes of representation. (shrink)

I call into question a pair of closely related assumptions that are almost universally shared in the literature on predicates of taste. The assumptions are, first, that predicates of taste – words like ‘tasty’ – are semantically evaluative. In other words, that it is part of the meaning of a word like ‘tasty’ to describe an object as in some sense good, or to say that it is pleasing. And second, that the meaning of predicates of taste is in some (...) way relativized to an experiencer or standard – the person that the object is pleasing to or the standard according to which the object is good. Parties to the literature on these terms tend to disagree about the role of context in determining the truth of claims involving predicates of taste, or in determining which proposition is expressed. But they agree that to call some dish ‘tasty’ is to say something positive about that dish, to suggest that someone or other finds, or is disposed to find, the dish pleasing. I suggest instead that ‘tasty’, and indeed... (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

One central debate in cognitive science is over imagery. Do images constitute, or constitute evidence for, a distinctive, depictive form of mental representation? The most sophisticated advocacy of this view has been developed by Kosslyn and his coworkers. This paper focuses on his position and argues (i) that though Kosslyn has not developed a satisfactory account of depiction, there is nothing in principle unintelligible about the idea of depictive neural representation, but (ii) Kosslyn's model of imagery rescues the intelligibility of (...) pictorialism at the cost of its explanatory power. (shrink)