ABSTRACTThis paper explores the role of exemplarity in education through a conceptualisation of two different dimensions of exemplarity in educational practice. Pedagogical exemplarity, which relates to the pedagogical and ethical dimension of educational practice. In other words, this dimension explores the educational moments when someone takes up an exemplary function in educational practice. Didactical exemplarity, which relates to the exemplary function of subject matter or educational content. In other words, this dimension explores the educational moments when something takes up an (...) exemplary function in educational practice. Through an initial conceptual exploration of these two dimensions, via the works of Linda Zagzebski and Martin Wagenschein, the paper sets out to lay the foundation for a deeper understanding of the role of exemplarity in education. (shrink)

In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken.

The recent discussion of fictional models has focused on imagination, implicitly considering fictions as something nonconcrete. We present two cases from synthetic biology that can be viewed as concrete fictions. Both minimal cells and alternative genetic systems are modal in nature: they, as well as their abstract cousins, can be used to study unactualized possibilia. We approach these synthetic constructs through Vaihinger’s notion of a semi-fiction and Goodman’s notion of semifactuality. Our study highlights the relative existence of such concrete fictions. (...) Before their realizations neither minimal cells nor alternative genetic systems were any well-defined objects, and the subsequent experimental work has given more content to these originally schematic imaginings. But it is as yet unclear whether individual members of these heterogeneous groups of somewhat functional synthetic constructs will eventually turn out to be fully realizable, remain only partially realizable, or prove outright impossible. (shrink)

This paper presents an artifactual approach to models that also addresses their fictional features. It discusses first the imaginary accounts of models and fiction that set model descriptions apart from imagined-objects, concentrating on the latter :251–268, 2010; Frigg and Nguyen in The Monist 99:225–242, 2016; Godfrey-Smith in Biol Philos 21:725–740, 2006; Philos Stud 143:101–116, 2009). While the imaginary approaches accommodate surrogative reasoning as an important characteristic of scientific modeling, they simultaneously raise difficult questions concerning how the imagined entities are related (...) to actual representational tools, and coordinated among different scientists, and with real-world phenomena. The artifactual account focuses, in contrast, on the culturally established external representational tools that enable, embody, and extend scientific imagination and reasoning. While there are commonalities between models and fictions, it is argued that the focus should be on the fictional uses of models rather than considering models as fictions. (shrink)

The essay explores the concept of interpretation in Freudian psychoanalysis as an act of reading. Freud understands the appearance of dreams and unconscious phantasies in analogy to the structure of perceptual images. On the one hand, he conceives of the patients’ verbal accounts of those images as a specific kind of ekphrasis. On the other hand, the images themselves are regarded as distorted versions of an underlying »dream text« rendering the fundamental desire that the images express and conceal at the (...) same time. The essay shows that the complex system of translations between different layers of text and image in Freud is based on the assumption that the dream images themselves can be analyzed as texts only mimicking the »natural« appearance of perceptions. Freud’s notion of the »rebus« is central to this discussion. The final part examines Freud’s reading of Michelangelo’s Moses statue in the church San Pietro in Vincoli in Rome. It demonstrates how the Freudian method of interpretation itself reduces the sculpture to a set of signs, making it perform a mimicry of textual systems. (shrink)

In this article, I start with the observation that aesthetic terms resist metaphorical interpretation; that is, it makes little sense to say that something is beautiful metaphorically speaking or to say something is metaphorically elegant, harmonious, or sublime. I argue that aesthetic terms’ lack of metaphorical interpretations is not explained by the fact that their applicability is not limited to a particular category of objects, at least in the standard sense of ‘category.’ In general, I challenge category-based accounts of metaphorical (...) interpretability and instead offer an alternative explanation for aesthetic terms’ lack of metaphorical interpretations, one that involves the notion of context shifts rather than category violations. I argue that what is required for metaphorical interpretability is the joint satisfaction of two conditions: multidimensionality and the presence of a default dimension. Aesthetic terms lack metaphorical readings because they fail to satisfy, even though they satisfy. I argue that the alternative account I offer is predictively adequate, more parsimonious, less subject to counterexamples, and hence preferable to the category-based one. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

ArgumentRecent studies of patents have argued that the very materiality and techniques of legal media, such as the written patent document, are vital for the legal construction of a patentable invention. Developing the centrality placed on patent documents further, it becomes important to understand how these documents are ordered and mobilized. Patent classification answers the necessity of making the virtual nature of textual claims practicable by linking written inscription to bureaucracy. Here, the epistemological organization of documents overlaps with the grid (...) of patent administration. How are scientific inventions represented in such a process? If we examine the process of creating a new patent category within the International Patent Classification (IPC), it becomes clear that disagreements about the substance of the novel inventive subject matter have been resolved by computer simulations of patent documents in draft classifications. The practical needs of patent examiners were the most important concerns in the making of a new category. Such a lack of epistemological mediation between the scientific and legal identities of an invention depicts a legal understanding that science is already inside patent law. From an internal legal perspective, the self-referential introduction of the new patent category may make practical sense; however it becomes problematic from a technological and scientific standpoint as the remit of the patent classification also affects other social contexts and practices. (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)

How do people make deductions? The orthodox view in psychology is that they use formal rules of inference like those of a “natural deduction” system.Deductionargues that their logical competence depends, not on formal rules, but on mental models. They construct models of the situation described by the premises, using their linguistic knowledge and their general knowledge. They try to formulate a conclusion based on these models that maintains semantic information, that expresses it parsimoniously, and that makes explicit something not directly (...) stated by any premise. They then test the validity of the conclusion by searching for alternative models that might refute the conclusion. The theory also resolves long-standing puzzles about reasoning, including how nonmonotonic reasoning occurs in daily life. The book reports experiments on all the main domains of deduction, including inferences based on prepositional connectives such as “if” and “or,” inferences based on relations such as “in the same place as,” inferences based on quantifiers such as “none,” “any,” and “only,” and metalogical inferences based on assertions about the true and the false. Where the two theories make opposite predictions, the results confirm the model theory and run counter to the formal rule theories. Without exception, all of the experiments corroborate the two main predictions of the model theory: inferences requiring only one model are easier than those requiring multiple models, and erroneous conclusions are usually the result of constructing only one of the possible models of the premises. (shrink)

Provided we agree about the thing, it is needless to dispute about the terms. —David Hume, A treatise of human nature, Book 1, section VIIMap-like representations are frequently invoked as an alternative type of representational vehicle to a language of thought. This view presupposes that map-systems and languages form legitimate natural kinds of cognitive representational systems. I argue that they do not, because the collections of features that might be taken as characteristic of maps or languages do not themselves provide (...) scientifically useful information above and beyond what the individual features provide. To bring this out, I sketch several allegedly distinctive features of maps, and show how they can easily be grafted onto a simple logical language, resulting in a hybrid “manguage.” The ease with which these linguistic and map-like properties can be integrated into a single representational system raises the question of what work broader categories like language and map are doing. I maintain.. (shrink)

The claim that similarity plays a role in representation has been philosophically discredited. Psychologists, however, routinely analyse the success of mental representations for guiding behaviour in terms of a similarity between representation and the world. I provide a foundation for this practice by developing a philosophically responsible account of the relationship between similarity and representation in natural systems. I analyse similarity in terms of the existence of a suitable homomorphism between two structures. The key insight is that by restricting attention (...) to only those homomorphisms induced by causal processes, we can solve two philosophical problems with a single assumption. First, causal structure provides an adequate source for the bias required to ensure the similarity relation is non-trivial; second, it provides an adequate source for the directionality required to move from similarity to representation. I defend this account against objections by Goodman and van Fraassen and demonstrate that it is indeed the account of similarity’s role in representation assumed by psychological practice. (shrink)

Typical accounts of imagistic content have focused on the apparent analog character or continuous variability of images. In contrast, I consider the distinctive features of digital images, those composed of finite sets of discrete pixels. A rich source of evidence on digital imagistic content is found in the content-preserving algorithms that resize and reproduce digital images on computer screens and printers. I argue that these algorithms reveal a distinctive structural feature: digital images are always compositional (their parts contribute systematically to (...) overall content), but never inverse compositional (atomic parts may be replaced nonsynonymously without changing content). This indicates a sharp contrast with linguistic representations, which may or may not be compositional, and may or may not be inverse compositional. I argue this result sheds new light on the claim that imagistic content is inherently perspectival. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

This paper aims to analyse how COVID-19 pandemic is changing our perception of reality. It starts looking at our situation from the point of view of Riegl’s distinction between optical and tactile, and then it compares the nature of the relationship between these two approaches to Lévi-Strauss’s description of bricolage. Our current world-view turns out to be not only an optic one, because the optical approach is just the means by which we can articulate a private and social life messed (...) up by Coronavirus. Thereby, optical takes care of tactile without replacing it, and this article draws parallels between this aspect and language as described by Heidegger. Finally, after having argued the presence of an aura in this “optical house of tactile” in both Walter Benjamin’s and Hito Steyerl’s forms, this article tries to figure out how this perspective could last beyond the end of this emergency. (shrink)

In The Visible and the Invisible Merleau-Ponty develops a notion of ‘sensible ideas’ that conceives general meaning as inseparable from its realization in sensible particulars. Such ideas – exemplified by music – are to capture the specificity of the meaning produced by embodied agency and serve as the foundation of all cognition. This article argues that, although Merleau-Ponty overgeneralizes their application, sensible ideas are philosophically important in enabling better understanding of the diverse forms and functions embodied-embedded practices and cognition can (...) take. It begins by outlining Merleau-Ponty’s conception of sensible ideas and showing how this late ‘ontological’ view takes up and refines themes from his earlier works. It then assesses sensible ideas’ assumed foundational role by considering several embodied practices (mathematics, music, painting), arguing that this does not hold generally and that painting better exemplifies sensible ideas than music. I show that whether a practice is accurately described by sensible ideas depends on how it relates the particular and general, and that sensible ideas have a distinctive philosophical role in understanding the non-identity-based meaning constitution characteristic of some embodied-embedded practices. Finally, a comparison with Kant’s aesthetic ideas is used to clarify the close but non-necessary relation between sensible ideas and art. (shrink)

In _The Visible and the Invisible_ Merleau-Ponty develops a notion of ‘sensible ideas’ that conceives general meaning as inseparable from its realization in sensible particulars. Such ideas – exemplified by music – are to capture the specificity of the meaning produced by embodied agency and serve as the foundation of all cognition. This article argues that, although Merleau-Ponty overgeneralizes their application, sensible ideas are philosophically important in enabling better understanding of the diverse forms and functions embodied-embedded practices and cognition can (...) take. It begins by outlining Merleau-Ponty’s conception of sensible ideas and showing how this late ‘ontological’ view takes up and refines themes from his earlier works. It then assesses sensible ideas’ assumed foundational role by considering several embodied practices (mathematics, music, painting), arguing that this does not hold generally and that painting better exemplifies sensible ideas than music. I show that whether a practice is accurately described by sensible ideas depends on how it relates the particular and general, and that sensible ideas have a distinctive philosophical role in understanding the non-identity-based meaning constitution characteristic of some embodied-embedded practices. Finally, a comparison with Kant’s aesthetic ideas is used to clarify the close but non-necessary relation between sensible ideas and art. (shrink)

This article focuses on the difficulty for a general theory of depiction of providing a notion of pictorial content that accommodates the full diversity of picture types. The article begins by introducing two basic models of pictorial content using paradigmatic positions that maximize the ability of the respective models to deal with pictorial diversity. Kulvicki's On Images is interpreted as a generalized projection-based model which proposes a scene-centred notion of pictorial content. By contrast, Lopes's aspect-recognition theory, in Understanding Pictures, is (...) taken to exemplify a recognition-based model of pictorial content. It is then considered how applicable these two notions of pictorial content are to a spectrum of different picture types, highlighting differences between mechanically produced and “freehand” pictures. It is shown that while the projection-based and recognition-based models are each required for some picture types, neither model can be applied over the whole spectrum of diverse picture types. This, it is argued, has the far-reaching consequence that neither the projection model nor the recognition model, nor any unitary combination of the two, can provide the basis for a theory of depiction applying to all pictures. (shrink)

A distinctive feature of Merleau-Ponty’s thought is the central role he assigns style in generally characterizing embodied agents’ perceptual and cognitive functioning. Despite this, he says little to explain how he conceives style itself. This article therefore aims to clarify Merleau-Ponty’s notion of style and its significance within and beyond his work. It begins by surveying his broad application of the term and using his discussions of painting to reconstruct his conception of style, identifying two major roles Merleau-Ponty attributes it (...) in unifying intentional structures and founding conceptual meaning. His view is related to several competing philosophical conceptions of style to highlight its distinctiveness and some conceptual difficulties in adequately defining style. I then argue that Merleau-Ponty succeeds in coherently distinguishing style from rules by recognizing that style conceives pattern formation, especially the relation of general and particular, in a way contrasting with the identity-based thinking inherent in the functioning of rules. With this distinction I conclude that, although Merleau-Ponty overgeneralizes its role, his conception of style has broader philosophical significance in accurately capturing the nonmechanical cohesion of certain embodied intelligent activities (such as painting) and enabling better understanding of the variety of forms such activities can take. (shrink)

In this paper we start from the assumption that in a metaphor, or an analogy, some terms belonging to one domain (source domain) are used to refer to objects other than their conventional referents belonging to a possibly different domain (target domain). We describe a formalism, which is based on the First Order Predicate Calculus, for representing the knowledge structure associated with a domain and then develop a theory of Constrained Semantic Transference [CST] which allows the terms and the structural (...) relationships of the source domain to be transferred coherently across to the target domain. We show how metaphors and analogies can be characterized in CST in such a way that many of their cognitive properties con be explained.We then propose a theory of Approximate Semantic Transference [AST] which is a computational version of CST and is derived from it by replacing the coherency requirement with approximate coherency. We show how AST can be used as a basis for designing models of cognitive processes involved in comprehending metaphors and analogies. (shrink)

Pictures have always played a prominent role in philosophical speculation about the mind, but the concept of a picture has itself been the object of philosophical scrutiny only intermittently. As a matter of fact, it was studied most intensively in the course of a theological controversy in the Eastern Roman Empire, during the eighth century - which is a sufficient indication of its marginal place in the history of philosophy. Perhaps this is because pictures have never produced in us the (...) theoretical paralysis which Augustine famously associated with time, but have on the contrary generally seemed too unproblematic to deserve much time from philosophers. Even today, after several decades of accumulating theory, philosophers with no stake in the matter are often impervious to its charm. I feel some sympathy for this attitude, because the task of explaining the nature of depiction is, I believe, one which calls for the refinement rather than refutation of our first thoughts about it. But a precise understanding of depiction is both a necessary prolegomenon to a significant part of aesthetics, and a useful prophylactic against confusion in the theory of the imagination. Besides, there is also the pleasure of the chase, which J. L. Austin nonchalantly appealed to many years before the Research Assessment Exercise was inaugurated. (shrink)

This article explores the place of truth and truthfulness in painting and drawing, and criticises logocentrism in the theory of truth.

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments (...) against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought. (shrink)

A general account of modeling in physics is proposed. Modeling is shown to involve three components: denotation, demonstration, and interpretation. Elements of the physical world are denoted by elements of the model; the model possesses an internal dynamic that allows us to demonstrate theoretical conclusions; these in turn need to be interpreted if we are to make predictions. The DDI account can be readily extended in ways that correspond to different aspects of scientific practice.

Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, we should follow Wollheim in adopting a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, we need to state what makes a particular experience appropriate to the (...) work. What does so? An obvious answer is that the experience reflects the work’s nature. Wollheim toyed with a more ambitious line, one linking the appropriate experience to our abilities to discriminate instances of the property appreciated. He allowed that having the right experience might require knowledge of the work, and thus that that experience need not be born of the ability to discriminate the property appreciated. But he seems to have held that the appropriate experience must engender that ability, at least against the background of those actual items that might be confused with instances of the property. I argue that Wollheim’s answer is less appealing than the obvious one. (shrink)

R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...) a profile is to understand it. That understanding differs from any involved in conceptualizing the affect in question. And, I argue, engagement with the expressive character of works of art is one way to gain it. (shrink)

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response,design. A different project is to give a compositional semantics for depictive content. Such attempts identifysyntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's semantics for (...) basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)