A shorthand symbolism for the relational mapping of categories is introduced and developed on the basis of Nelson Goodman's structural methodology. Through a reconstruction of extensional isomorphism that Goodman introduces as a criterion for definitional accuracy, and a brief reminder of the argument structure behind his ‘new riddle of induction’, Goodman's radical ontological relativism is turned into a protological principle of what I call ‘domain constituting philosophy’. MSS is demonstrated with reference to Goodman's symbol theory, particularly his notion of exemplification, (...) as well as in a final structured comparison of Frege's ‘sense’ with Goodman's straightforward construction of ‘secondary extension’. (shrink)

Some artistic representations—the painting of a hat in a famous picture by Rembrandt is an example—are able to present vividly the character of what they represent precisely by calling attention to their medium of representation. There is a puzzle about this whose structure, I argue, is analogous to that of a familiar Kantian problem for traditional realism. I offer a precise characterization of the puzzle, before arguing that an analogue for the case of representation to the Kantian solution to the (...) problem for traditional realism is implausible. I offer an alternative solution to the puzzle about representation which also explains why we should be interested in artistic representation in the first place. I close with the outline of a possible realist response to the traditional Kantian problem. (shrink)

Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...) between text and image in comics, and the connection between comics and cartooning. (shrink)

The word «fake» and its several synonyms touch on a number of ontological and mimetic issues that since Plato have led directly to contemporary debates. In the present survey we will try to outline a «grammar of fake» through three points: a) the issue of pseudos in Plato and its impact on contemporaneity; b) the notion of hyperreality as absolute fake; c) the dimension of operative fake, grasped in its postmodern enucleation.

The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...) color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art. (shrink)

I defend a version of color subjectivism — that colors are sortals for certain neural events — by arguing against a sophisticated form of color objectivism and by showing how a subjectivist can legitimately explain the phenomenal fact that colors seem to be properties of external objects.

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 92-116, December 2019.

Despite the fact about colour, that it is one of the most obvious and conspicuous features of the world, there is a vast number of different theories about colour, theories which seem to be proliferating rather than decreasing. How is it possible that there can be so much disagreement about what colours are? Is it possible that these different theorists are not talking about the same thing? Could it be that more than one of them is right? Indeed some theorists, (...) e.g. Leo M. Hurvich, D. L. McAdam and K. Nassau, say that the term ‘colour’ is used to identify a range of different properties, e.g. pigments, properties of light, and sensations. Such a view has its attractions, but it raises the question of what it is that unites these various concepts – what is it that would make them all concepts of colour? What is it that justifies using the same terms, ‘yellow’, ‘blue’, ‘pink’, mauve’, and so on?This paper aims to address this question, arguing that its answer supports the conclusion that the best theory of colour is a form of anti‐realism: the Illusory theory of colours. There are two parts to this thesis, one negative, the other positive. The negative part is that there are no colours, as they are ordinarily conceived. The positive part is that, nevertheless, the world is such that ‘it is as if there are such colours’. Such a theory has important implications. One is that it doesn’t fall neatly into the usual taxonomy of philosophical theories. In particular, it does not deserve the label ‘eliminativist’. Another is that it allows some space for the views expressed by Hurvich, McAdam and Nassau, but not quite in the sense that they intend. (shrink)

Despite the fact about colour, that it is one of the most obvious and conspicuous features of the world, there is a vast number of different theories about colour, theories which seem to be proliferating rather than decreasing. How is it possible that there can be so much disagreement about what colours are? Is it possible that these different theorists are not talking about the same thing? Could it be that more than one of them is right? Indeed some theorists, (...) e.g. Leo M. Hurvich, D. L. McAdam and K. Nassau, say that the term ‘colour’ is used to identify a range of different properties, e.g. pigments, properties of light, and sensations. Such a view has its attractions, but it raises the question of what it is that unites these various concepts – what is it that would make them all concepts of colour? What is it that justifies using the same terms, ‘yellow’, ‘blue’, ‘pink’, mauve’, and so on?This paper aims to address this question, arguing that its answer supports the conclusion that the best theory of colour is a form of anti-realism: the Illusory theory of colours. There are two parts to this thesis, one negative, the other positive. The negative part is that there are no colours, as they are ordinarily conceived. The positive part is that, nevertheless, the world is such that ‘it is as if there are such colours’. Such a theory has important implications. One is that it doesn’t fall neatly into the usual taxonomy of philosophical theories. In particular, it does not deserve the label ‘eliminativist’. Another is that it allows some space for the views expressed by Hurvich, McAdam and Nassau, but not quite in the sense that they intend. (shrink)

From the late seventeenth century on the idea of culture underwent a gradual transformation. Originally this concept referred essentially to the “refined” way of life of the ruling social elite. Popular culture, on the other hand, refers to the usually collective practices of groups of rural and urban workers taking the form of performance. They were not only excluded from refined culture, but it was regarded as completely unsuitable for them, potentially creating dangerous social aspirations. It is with the great (...) social transformation from feudal to bourgeois society that the idea of refined culture was replaced by that of “high culture” encompassing both the arts and the sciences: works claiming universal human significance. This “high culture” for a considerable time coexisted with the remnants of popular culture. It has been only due to the great technical advances that its true opposite, “mass culture” emerged, at the turn to twentieth century, claiming an empirical universality: being understandable and truly interesting to everyone. In economic respect, there is a competitive relation between high and mass culture. However, it is argued that there can be no cultural competition between them. For they posit differing and potentially co-existing receptive attitudes. The characterisation of this difference and the discussion of the seeming exceptions to the so-articulated conceptual scheme occupies the concluding part of this essay. (shrink)

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...) overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

A widespread opinion holds that norms and codes of conduct as such can only be established via words, that is, in some lexical form. This perspective can be criticized: some norms produced by human acts are not word-based at all. For example, many norms are actually conveyed through graphics (e. g. road signs and land-use maps), sounds (e. g. the referee’s whistle), a silent gesture (the traffic warden’s signal to halt). In this article, we will focus on the norms that (...) are created by means of drawings and can be termed “drawn norms” or “graphical norms.” Specifically, we will inquire into the phenomenon of graphical norms with particular regard to traffic signs and land-use plans, and we will discuss the philosophical and legal problems to which these phenomena give rise. (shrink)

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

Commonsense psychology and cognitive science both regularly assume the existence of representational states. I propose a naturalistic theory of representation sufficient to meet the pretheoretical constraints of a "folk theory of representation", constraints including the capacities for accuracy and inaccuracy, selectivity of proper objects of representation, perspective, articulation, and "efficacy" or content-determined functionality. The proposed model states that a representing device is a device which changes state when information is received over multiple information channels originating at a single source. The (...) changed state of a representing device is a representation. The unitary information source which would give rise to the information impinging on the representing device, and hence, give rise to the representation, is the content of the representation. The model meets the pretheoretic constraints, and also conforms to available neurobiological data for two invertebrate species. (shrink)

This article argues for an anti-deflationist view of scientific representation. Our discussion begins with an analysis of the recent Callender–Cohen deflationary view on scientific representation. We then argue that there are at least two radically different ways in which a thing can be represented: one is purely symbolic, and therefore conventional, and the other is epistemic. The failure to recognize that scientific models are epistemic vehicles rather than symbolic ones has led to the mistaken view that whatever distinguishes scientific models (...) from other representational vehicles must merely be a matter of pragmatics. It is then argued that even though epistemic vehicles also contain conventional elements, they do their job of demonstration in spite of such elements. (shrink)

In this interview, Daniel Little provides an overview of his life and work in academia. Among other things, he discusses an actor-centred approach to theory of social ontology. For Little, this approach complements the assumptions of critical realism, in that it accords full ontological importance to social structures, causal mechanisms, and enduring and influential normative systems. The approach casts doubt, however, on the idea of ‘strong emergence' of social structures, the idea that social structures have properties and causal powers that (...) cannot, in principle be explained by their constituents (social actors) and their relationships. Little’s approach to social ontology endorses instead the idea of relative explanatory autonomy. During the interview, many points of convergence become evident between this actor-centred approach to social ontology and the fundamental insights of critical realism. According to Little, analysis of social ontology also turns out to be especially relevant to philosophy of history. (shrink)

Ordinary linguistic practices, as well as such extraordinary ones as are exemplified in scientific accounts, involve reporting, evaluating, and describing. This essay shows how a systematic account of these activities may help to illuminate the study of "ordinary language" and, ultimately, of technical linguistic practices.

Recently, Caterina Moruzzi has appealed to Ted Sider’s case for continuant exdurantism and the availability of a “parallel move” in musical ontology to promote a specific version of musical work exdurantism. In this article, I argue that her version of musical exdurantism undermines the prospects for making the parallel move, but I go on to sketch two alternatives that do not. In Section I, I outline apparent persistence-parallels between ordinary material objects and musical works. In Section II, I sketch a (...) transposable case for accepting continuant exdurantism. In Section III, I introduce Moruzzi’s exdurantism. In Section IV, I introduce her selected rivals—the type-token theory of Julian Dodd and an austere musical perdurantism due to Ben Caplan and Carl Matheson. In Section V, I argue that several of Moruzzi’s commitments undermine her motivation from the “parallel move.” In sections VI and VII, I sketch alternative versions of musical exdurantism that are better positioned to adopt the parallel move. (shrink)

It is a commonplace that “the map is not the territory.” The phrase goes back to Alfred Korzybski, while the insight—formulated by insisting on an apparent triviality—is surely older and has received poetical expressions from Lewis Carroll and Jorge Luis Borges among others. The difference between map and territory is a difference of categories and is at the base of the representation relation. Hence maps play a prominent role in the discourse about representation which takes place in a number of (...) disciplines and from different perspectives. Three of them are of special interest for the present paper.One influential view has been put forward by historian of art Ernst Gombrich in his classical lecture on.. (shrink)

Exploring intentionality from an externalist perspective, I distinguish three kinds of intentionality in the case of seeing, which I call transparent, translucent, and opaque respectively. I then extend the distinction from seeing to knowing, and then to believing. Having explicated the three-fold distinction, I then critically explore some important consequences that follow from granting that (i) there are transparent and translucent intentional states and (ii) these intentional states are mental states. These consequences include: first, that existential opacity is neither the (...) mark of intentionality nor of the mental; second, that Sellars has not shown that all intentionality is non-relational; third, that a key Quinean argument for semantic indeterminacy rests on a false premise; fourth, that perceptual experience is intentional on Alston’s Theory of Appearing; fifth, that either some mental causation is more than internal physiological causation or some mental states are epiphenomenal. (shrink)

Speaking: from Intention to Articulation Willem J. M. Levelt, 1989 (1993 paperback) Cambridge, MA: MIT Press ISBN: 0–262–12137–9(hb), 0–262–62089–8(pb)Rules for Reasoning Richard E. Nisbett (Ed.), 1993 Hillsdale, NJ, Lawrence Erlbaum Associates ISBN: 0–8058–1256–3(hb), 0–8085–1257–1 (pb)Readings in Philosophy and Cognitive Science Alvin I. Goldman, 1993 Cambridge, MA, MIT Press ISBN: 0–262–07153–3(hb), 0–262–57100–5(pb)Language Comprehension in Ape and Child, Monographs of the Society for Research in Child Development, Serial No. 233, Vol. 58, Nos 3–4 Sue Savage‐Rumbaugh, Jeannine Murphy, Rose A. Sevcik, Karen E. (...) Brakke, Shelly L. Williams & Duane M. Rumbaugh, with commentary by Elizabeth Bates, and a reply by the authors, 1993 Chicago: University of Chicago Press ISBN: 0–226–73542–7Language, Music and Mind Diana Raffman, 1993 Cambridge, MIT Press/Bradford Books ISBN: 0–262–18150–9Psychology of Proof Lance J. Rips, 1994 Cambridge, MA, MIT Press ISBN: 0–262–18153–3Human and Machine Thinking P. Johnson‐Laird, 1993 Hillsdale, NJ, Erlbaum ISBN: 0–8058–0921‐XIntelligent Behavior in Animals and Robots David McFarland & Thomas Bosser, 1993 Cambridge, MA and London, UK: MIT Press/ Bradford Books ISBN: 0–262–13293–1The Eye and the Mind: Reflections on Perception and the Problem of Knowledge Charles Landesman, 1993 Dordrecht: Kluwer Academic Publishers ISBN: 0–7923–2586–9The Moral Self GilG. Noam & Thomas E. Wren (Eds), in cooperation with Gertud Nunner‐Winkler & Wolfgang Edelstein, 1993 Cambridge, MA: MIT Press ISBN: 0–262–14052–1The Logic of Discovery: A Theory of the Rationality of Scientific Research Scott A. Kleiner, 1993 Dordrecht: Kluwer Academic Publishers ISBN: 0–7923–2371–8Folk Psychology and the Philosophy of Mind S.M. Christenson & D.R. Turner (Eds), 1993 Hillsdale, NJ: Lawrence Erlbaum ISBN: 0–805–80931–7. (shrink)

The form of representation cannot be fully described, as Wittgenstein noted. This is because there is a non-linguistic component in the representation of truth that aesthetic experience shows us. It is the self-represented exemplar of conscious experience. On this basis, the author defends empiricism against the objection that all representation of experience is subject to error.

A promising strategy for defending the role that representation plays in explanations of cognition frames the concept in terms of internal models or map‐like mechanisms. “Structural representation” offers an account of representation that is grounded in well‐specified, empirical criteria. However, anti‐representationalists continue to press the issue of how to account for the paradigmatic semantic properties of representation at the subpersonal level. In this paper, I offer an account of how the proponent of structural representation should think about content. There are (...) really two problems of content any account of representation must overcome: the “hard problem of content” and the “content determination problem.” I argue that the structural representation account has the resources to provide a naturalistically respectable notion of content that overcomes both problems. (shrink)

Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...) problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

Maps, notes, descriptions, diagrams, flowcharts, photographs, paintings, and prints, all, in one way or another, manage to be about things or stand for them. This article looks at three ways in which philosophers have explained the way that pictures represent the world. It starts by describing some leading perceptual accounts and then surveys contemporary content and structural alternatives.

Contrary to the received view according to which the value of works of art consists exclusively or primarily in their aesthetic value I argue that the importance of aesthetic value has been grossly overrated. In earlier publications I have shown that the assumption stipulating that the value of artworks consists exclusively in their aesthetic value is demonstrably wrong. I have suggested a conceptual distinction between the aesthetic and the artistic value arguing that when it comes to evaluation the artistic value, (...) which reflects the significance of innovations exemplified by the work, is no less important than the aesthetic value. Here I take the argument a step further by suggesting that the aesthetic value is considerably less important than the artistic value. To show this I draw attention to a neglected aspect of art evaluation, namely to the monetary value of artworks. Although there is no necessary connection between monetary value of works of art and their aesthetic value or their artistic value, it can nevertheless tell us something important not only about the overall value of works of art but also about the relative importance of the two component values. I show that the enormous differences between monetary values of different artworks cannot be accounted for by the corresponding differences in their aesthetic value but can be explained by the differences in their artistic value. (shrink)

For the information theorist, the lawful generalizations that subsume instantiations of properties in the environment and instantiations of properties of perceptual representations determine the latter's content. Perceptual representations are also commonly thought to be isomorphic to what they represent, which presents the information theorist with a puzzle. What role could isomorphism play in perceptual representation when lawful generalizations determine content? I show that in order for the information that they carry to be available to cognition, perceptual representations must be isomorphic (...) with respect to the constituent structure of the properties that they represent. Isomorphism therefore plays an important role in the information theorist's account of perceptual representation, even though it plays no role in determining content. (shrink)

Looking for an adequate explication of the concept of a biological function, several authors have proposed to link function to design. Unfortunately, known explications of biological design in turn refer to functions. The concept of general design I will introduce here breaks up this circle. I specify design with respect to its ontogenetic role. This allows function to be based on design without making reference to the history of the design, or to the phylogeny of an organism, while retaining the (...) normative aspect of function ascriptions. The concept is applicable to the function and design of technical artifacts as well. Several problems well known with other definitions can be overcome by this approach. (shrink)

How come we can represent Bigfoot even though Bigfoot does not exist, given that representing something involves bearing a relation to it and we cannot bear relations to what does not exist? This is the problem of intentional inexistence. This paper develops a two-step solution to this problem, involving an adverbial account of conscious representation, or phenomenal intentionality, and the thesis that all representation derives from conscious representation. The solution is correspondingly two-part: we can consciously represent Bigfoot because consciously representing (...) Bigfoot does not involve bearing a relation to Bigfoot, but rather instantiating a certain non-relational property of representing Bigfoot-wise; and we can non-consciously represent Bigfoot because non-consciously representing Bigfoot does not involve bearing a relation to Bigfoot, but rather bearing a relation to conscious representations of Bigfoot. (shrink)

The extensions of Goodman’s ‘grue’ predicate and Kripke’s ‘quus’ are constructed from the extensions of more familiar terms via a reinterpretation that permutes assignments of reference. Since this manoeuvre is at the heart of Putnam’s model-theoretic and permutation arguments against metaphysical realism (‘Putnam’s Paradox’), both Goodman’s New Riddle of Induction and the paradox about meaning that Kripke attributes to Wittgenstein are instances of Putnam’s. Evidence cannot selectively confirm the green-hypothesis and disconfirm the grue-hypothesis, because the theory of which the green-hypothesis (...) is a part has an unintended model in which the grue-hypothesis is equally confirmed; and there are no meaning-facts that determine reference, because the objects referred to by the referring terms of any language or set of intentional mental states are permutable in a way that is consistent with the truth-values of all other sentences in that language or beliefs in that set. The upshot is that the three paradoxes need to be solved in a unified way. (shrink)