Historical work on the emergence of sheaf theory has mainly concentrated on the topological origins of sheaf cohomology in the period from 1945 to 1950 and on subsequent developments. However, a shift of emphasis both in time-scale and disciplinary context can help gain new insight into the emergence of the sheaf concept. This paper concentrates on Henri Cartan’s work in the theory of analytic functions of several complex variables and the strikingly different roles it played at two stages of the (...) emergence of sheaf theory: the definition of a new structure and formulation of a new research programme in 1940–1944; the unexpected integration into sheaf cohomology in 1951–1952. In order to bring this two-stage structural transition into perspective, we will concentrate more specifically on a family of problems, the so-called Cousin problems, from Poincaré (1883) to Cartan. This medium-term narrative provides insight into two more general issues in the history of contemporary mathematics. First, we will focus on the use of problems in theory-making. Second, the history of the design of structures in geometrically flavoured contexts—such as for the sheaf and fibre-bundle structures—which will help provide a more comprehensive view of the structuralist moment, a moment whose algebraic component has so far been the main focus for historical work. (shrink)

This paper discusses a counterexample to the thesis that visual experience is cognitively impenetrable. My central claim is that sometimes visual experience is influenced by the perceiver’s beliefs, rendering her experience’s representational content indeterminate. After discussing other examples of cognitive penetrability, I focus on a certain kind of visual experience— that is, an experience that occurs under radically nonstandard conditions—and show that it may have indeterminate content, particularly with respect to low-level properties such as colors and shapes. I then explain (...) how this indeterminacy depends on the perceiver’s beliefs or thoughts. Finally, I attempt to generalize the case and show how other sorts of visual experiences can also be penetrated by beliefs and, hence, be indeterminate. (shrink)

This paper develops Kendall Walton's account of pictorial experience. Walton argues that the key feature of that experience is that it is imaginatively-penetrated experience. I argue that this idea, as put forward by Walton, has various shortcomings. After discussing these limitations, I suggest, on the basis of a more general phenomenon of cognitive penetration, a refinement of Walton's account. I then show how the revised account explains various features of pictorial experience. Specifically, I show that, given the manner in which (...) imaginings influence perceptual experience, Walton can dispense with the thesis that pictorial experience is twofold. (shrink)

In this paper I review some leading developments in the empirical theory of affect. I argue that (1) affect is a distinct perceptual representation governed system, and (2) that there are significant modular factors in affect. The paper concludes with the observation thatfeeler (affective perceptual system) may be a natural kind within cognitive science. The main purpose of the paper is to explore some hitherto unappreciated connections between the theory of affect and the computational theory of mind.

In this paper I link two hitherto disconnected sets of results in the philosophy of emotions and explore their implications for the computational theory of mind. The argument of the paper is that, for just the same reasons that some computationalists have thought that cognition may be a natural kind, so the same can plausibly be argued of emotion. The core of the argument is that emotions are a representation-governed phenomenon and that the explanation of how they figure in behaviour (...) must as such be undertaken in those terms. I conclude with some interdisciplinary reflections in defence of the hypothesis that emotions might be more fundamental in the organization of behaviour than cognition; that, in effect, we may be emoters before we are cognizers . The aim of the paper is: (1) to introduce a number of promising results in philosophical and empirical emotion theory to a wider audience; and (2) to begin the task of organizing those results into a computational theoretical framework. (shrink)

What is it for a picture to be more realistic, or more depictive, than another? Without committing to any thesis as to what depiction consists in, I show that degrees of depictiveness are grounded in a certain relation between two basic kinds of differences between pictures: configurational differences and content differences. A picture is thus more depictive just in case it is seen as having fewer nondepictive features, whereas a nondepictive feature is individuated through the susceptibility of the picture's configuration (...) to change without entailing any change in the picture's content. (shrink)

Abstract:Much of Western speculative metaphysics has subscribed to what has been called “explanatory rationalism,” which holds that there is a reason for everything that is and for the way everything is. Theodicies, or metaphysical attempts to solve the problem of evil, have relied on a special application of this principle of explanatory rationalism, namely, the principle of plenitude, which holds that the evil in the world is a necessary ingredient in the world's overall perfection or degree of reality. This essay (...) argues that the principle of plenitude is aesthetically motivated, and that only in art and perhaps in revealed religion can the demands of explanatory rationalism be satisfied. (shrink)

Philosophical Psychology, Volume 24, Issue 3, Page 411-425, 01Jun2011.

Most of us create and use a panoply of non-sentential representations throughout our ordinary lives: we regularly use maps to navigate, charts to keep track of complex patterns of data, and diagrams to visualize logical and causal relations among states of affairs. But philosophers typically pay little attention to such representations, focusing almost exclusively on language instead. In particular, when theorizing about the mind, many philosophers assume that there is a very tight mapping between language and thought. Some analyze utterances (...) as the outer vocalizations of inner thoughts (e.g. Grice 1957, Devitt 2005), while others treat thought as a form of inner speech (e.g. Sellars 1956/1997, Carruthers 2002). But even philosophers who take no stand on the relative priority of language and thought still tend to individuate mental states in terms of the sentences we use to ascribe them. Indeed, Dummett (1993) claims that it is constitutive of analytic philosophy that it approaches the mind by way of language. In many ways, this linguistic model is salutary. Our thoughts are often intimately intertwined with their linguistic expression, and public language does provide a comparatively tractable proxy for, and a window into, the messier realm of thought. However, an exclusive focus on thought as it is expressed in language threatens to leave other sorts of thought unexplained, or even to blind us to their possibility. In particular, many cognitive ethologists and psychologists find it useful to talk about humans, chimpanzees, birds, rats, and even bees as employing cognitive maps. We need to make sense of this way of talking about minds as well as more familiar sentential descriptions. In what follows, I investigate the theoretical and practical possibility of non-sentential thought. Ultimately, I am most interested in the contours of distinctively human thought: what forms does human thought take, and how do those different forms interact? How does human thought compare with that of other animals? In this essay, however, I focus on a narrower and more basic theoretical question: could thought occur in maps? Many philosophers are convinced that in some important sense, thought per se must be language-like.. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

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

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

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

In this essay, Heidegger's theses on art, as he develops them in the text "On the Origin of the Work of Art," are reconstructed, interpreted, and critically evalua- ted. In doing so, we pursue a threefold goal. First, his theses on art are put in relation to the main theme of his philosophy: the question of being. Second, the different ways in which Heidegger takes art to be epistemically valuable are dif- ferentiated and reconstructed in detail. Third, Heidegger's theses are (...) related to the contemporary debate on the epistemic value of art and critically discussed. (shrink)

Is art epistemically valuable? Catherine Z. Elgin answers this question in the affirmative. She argues for the epistemic value of art on the basis of her innovative epistemological theory, in which the focus is shifted from knowledge and truth to a non-factive account of understanding. After an exposition and critique of her view, as she develops it in her most recent book “True Enough” (MIT-Press, 2017), I will build on some of her ideas in order to strengthen her account.

This paper is divided into three sections. In the first section we offer a retooling of some traditional concepts, namely icons and symbols, which allows us to describe an evolutionary continuum of communication systems. The second section consists of an argument from theoretical biology. In it we explore the advantages and disadvantages of phenotypic plasticity. We argue that a range of the conditions that selectively favor phenotypic plasticity also favor a nongenetic transmission system that would allow for the inheritance of (...) acquired characters. The first two sections are independent, the third depends on both of them. In it we offer an argument that human natural languages have just the features required of an ideal transmission mechanism under the conditions described in section 2. (shrink)

The possibilities of depicting non-existents, depicting non-particulars and depictive misrepresentation are frequently cited as grounds for denying the platitude that depiction is mediated by resemblance. I first argue that these problems are really a manifestation of the more general problem of intentionality. I then show how there is a plausible solution to the general problem of intentionality which is consonant with the platitude.

It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.

This paper discusses the problematic use of the “pragmatic credo” – defined as a minimal set of basic pragmatist propositions – in practice, especially when facing creation. To do so, we analyze how managers deal with “art-based firms” and provide results from an in-depth case study of a small firm operating in garden art and design (Béjean 2015; 2008). The findings are interpreted in light of previous theoretical developments in management theory (Hatchuel European Management Review, 2(1): 36–47.), as well as (...) symbol theory (Goodman 1968; 1978). They suggest that, while appearing wise and reasonable, the pragmatic credo as embodied in practical management doctrines rather inhibits collective action and masks the necessary revision of symbolic “orders of action”, defined as the way action is itself pre-categorized by a special class of symbols. The paper concludes by providing further insights of how an “epistemology of action” could contribute to enriching both pragmatism and management, especially when action is no longer the solution to resort to but rather the enigma to unfold. (shrink)

“Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (...) (Section IV). Finally (Section V), I consider a “paradox” of oversinging involving the role of skill in artistic performance. My discussion touches on the aesthetics of performance, aesthetic judgment, virtuosity, and taste. (shrink)

Many discussions in the philosophy of the humanities and of the social sciences take it for granted that the term „interpretation“ unambiguously refers to only one well-defined activity. In this paper, I want to discredit this assumption. First, I distinguish seventeen different kinds of activity regarding linguistic utterances which are commonly considered activities of interpretation. Then I specify diverse methodological requirements connected with each of the kinds of interpretation distinguished. Finally, I argue that attempts to give an unitary account of (...) interpretation-such as ‚assigning meaning to something’-fail to do justice to the multifariousness of the activities commonly called ‚interpretation’. (shrink)

The Humean view that conceivability entails possibility can be criticized via input from cognitive psychology. A mainstream view here has it that there are two candidate codings for mental representations (one of them being, according to some, reducible to the other): the linguistic and the pictorial, the difference between the two consisting in the degree of arbitrariness of the representation relation. If the conceivability of P at issue for Humeans involves the having of a linguistic mental representation, then it is (...) easy to show that we can conceive the impossible, for impossibilities can be represented by meaningful bits of language. If the conceivability of P amounts to the pictorial imaginability of a situation verifying P, then the question is whether the imagination at issue works purely qualitatively, that is, only by phenomenological resemblance with the imagined scenario. If so, the range of situations imaginable in this way is too limited to have a significant role in modal epistemology. If not, imagination will involve some arbitrary labeling component, which turns out to be sufficient for imagining the impossible. And if the relevant imagination is neither linguistic nor pictorial, Humeans will appear to resort to some representational magic, until they come up with a theory of a ‘third code’ for mental representations. (shrink)

Recent writing on the expression of emotion has explored the idea that there is a symbolic dimension to many “expressive actions.” This paper aims to situate and better understand the “symbolic expression” account by exploring its position in a framework of views from the history of philosophy regarding emotion, action out of emotion, and their place in the good human life. The paper discusses a number of competing views that can be found in this tradition, ranging from irrationalism, through irenicism, (...) self‐externalization, and cognitivism to the symbolist tradition itself. In looking specifically at the roots of symbolism, the paper departs from the common view that Aristotelianism is the central tradition, for us, of thinking about philosophy of the emotions. It suggests that we can get a better grip on the source of these ideas by looking rather at how thinkers in the post‐Kantian and Romantic tradition wrestled with the question of the freedom and rationality of behaviour out of emotion. (shrink)

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

Aristotle'sRhetoricdefines fear as a kind of pain (lypē) or disturbance (tarachē) and pity as a kind of pain (2.5.1382 a 21 and 2.8.1385 b 13). In hisPoetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ (τ⋯ν ⋯π⋯ ⋯λέου κα⋯ ɸόβου δι⋯ μιμήσεως δεῖ ⋯δον⋯ν παρασκευάζειν14.1453 b 12–13). The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in (...) connection withcatharsis.Catharsis, however, raises more problems than it solves. Aristotle says nothing at all about the tragiccatharsisin thePoeticsexcept to state that tragedy accomplishes it. Though he gives a more complete account ofcatharsisin thePolitics, the context of this passage is so different from that of thePoeticsthat its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of thePoeticsaccording to which (1) a tragedy is pleasurable in one respect and painful in another, and (2) pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of theoikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view ofcatharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

In non-philosophical discourse, “identity” is often used when the specific character of artefacts is described or evaluated. We argue that this usage of “identity” can be explicated as referring to the symbol properties of artefacts as they are conceptualized in the symbol theory of Goodman and Elgin. This explication is backed by an analysis of various uses of “identity”. The explicandum clearly differs from the concepts of numerical identity, qualitative identity and essence, but it has a range of similarities with (...) the notion of self-concept used in psychology and practical philosophy. The proposed explication is used to analyse claims about identity-pluralism and identity-conflicts. Firstly, the explication allows us to distinguish various ways how the same artefact can have a plurality of identities. Secondly, more or less sharp conflicts within an identity or between identities of an artefact are distinguished. Thirdly, many phenomena called “identity-conflicts” are only apparently identity-conflicts and can be analysed as involving some other form of tension. (shrink)

The article aims at discerning and explaining the significance and role of emotive notions in understanding music, in performing it or listening to it with the appropriate understanding. The suggestion focuses on two notions: that of making sense of various musical features and their interconnections, and that of helping manage the enormous information one needs to process in keeping on the trail of the music in real time.

Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...) the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

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

Prior to the twentieth century, theories of knowledge were inherently perceptual. Since then, developments in logic, statis- tics, and programming languages have inspired amodal theories that rest on principles fundamentally different from those underlying perception. In addition, perceptual approaches have become widely viewed as untenable because they are assumed to implement record- ing systems, not conceptual systems. A perceptual theory of knowledge is developed here in the context of current cognitive science and neuroscience. During perceptual experience, association areas in the (...) brain capture bottom-up patterns of activation in sensory-motor areas. Later, in a top-down manner, association areas partially reactivate sensory-motor areas to implement perceptual symbols. The stor- age and reactivation of perceptual symbols operates at the level of perceptual components – not at the level of holistic perceptual expe- riences. Through the use of selective attention, schematic representations of perceptual components are extracted from experience and stored in memory (e.g., individual memories of green, purr, hot). As memories of the same component become organized around a com- mon frame, they implement a simulator that produces limitless simulations of the component (e.g., simulations of purr). Not only do such simulators develop for aspects of sensory experience, they also develop for aspects of proprioception (e.g., lift, run) and introspec- tion (e.g., compare, memory, happy, hungry). Once established, these simulators implement a basic conceptual system that represents types, supports categorization, and produces categorical inferences. These simulators further support productivity, propositions, and ab- stract concepts, thereby implementing a fully functional conceptual system. Productivity results from integrating simulators combinato- rially and recursively to produce complex simulations. Propositions result from binding simulators to perceived individuals to represent type-token relations. Abstract concepts are grounded in complex simulations of combined physical and introspective events. Thus, a per- ceptual theory of knowledge can implement a fully functional conceptual system while avoiding problems associated with amodal sym- bol systems. Implications for cognition, neuroscience, evolution, development, and artificial intelligence are explored. (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

The paper defends the structural concept of representation, defined by homomorphisms, against the main objections that have been raised against it: Logical objections, the objection from misrepresentation, the objection from failing necessity, and the copy theory objection. Homomorphic representations are not necessarily ‘copies’ of their representanda, and thus can convey scientific insight.

Carey has argued that there is a system of core numerical cognition – the analog magnitude system – in which cardinal numbers are explicitly represented in iconic format. While the existence of this system is beyond doubt, this paper aims to show that its representations cannot have the combination of features attributed to them by Carey. According to the argument from abstractness, the representation of the cardinal number of a collection of individuals as such requires the representation of individuals as (...) such, and this in turn requires non-iconic format, from which it is concluded that the explicit representation of the cardinal number of some individuals requires non-iconic representational format. In support of the first premise, an account is given of what approximate cardinal numbers might be, and in support of the second, a direct argument is articulated and defended. Finally, in response to an objection, a second argument for the central thesis is provided. While the discussion is couched in the terms of Carey’s work, the considerations it adduces are perfectly general, and the conclusion should therefore be taken into consideration by all those aiming to characterize the AM system. (shrink)

In this paper I attempt to show that a certain degree of hunger, intended as a material and psychological condition of the diner, can become a constitutive property of a culinary work. One may believe that the best possible argument supporting this thesis is one relying on the general assertion that an author’s stipulative authority over the features of his or her work, if adequately exercised, is absolute. Quite the contrary, I show that we should prefer a different and more (...) specific argumentative strategy based on the twofold fact that the conventions ruling over culinary works are peculiarly less stringent than in many other art fields, and that hunger has a very special status with regard to culinary works, in the sense that fixing the degree of hunger of the diner may serve to fix the appropriate conditions for any minimally acceptable perceptual experience of a culinary work to take place. (shrink)