Carroll William Westfall has claimed that building types can serve as natural symbols of (the purposes served by) activities such as venerating, celebrating, trading, and dwelling. The aim of this paper is to interpret Westfall’s claim in a way that makes it non-trivial and yet worthy of further investigation. In particular, an attempt is made to explain the connection between building types and what they symbolize without appealing to convention. The question is also answered whether a non-conventional connection is compatible (...) with one and the same building type having a different significance in different cultures. (shrink)

La definición estándar del conocimiento intenta concebir el conocimiento proposicional como una creencia verdadera y justificada, y, con su modo de proceder, genera una serie de graves problemas. En respuesta a esto, este ensayo investiga un modelo interpretativo prometedor y alternativo del conocimiento como estructura o sistema que se acopla a las reflexiones de Nelson Goodman. A partir de una amplia base constituida por la teoría de los símbolos, es posible desarrollar un concepto de conocimiento plural y procesal que se (...) puede adecuar tanto a la pluralidad de distintos modos de conocimiento, como también a sus transformaciones históricas. En ello tiene un papel decisivo la interpretación de la comprensión como un proceso constructivo que sirve como punto de partida para realizar una descripción teórica de una dinámica transformativa. Del análisis de la relación entre procesos de comprensión y conocimiento se deriva un nuevo punto de vista que deja surgir con claridad el rasgo procesal del conocimiento y sus características específicas. Este artículo ofrece una base para una mayor diferenciación del ámbito epistémico en cuyo marco el concepto de conocimiento puede ser rehabilitado. (shrink)

Offers the first focused study of the shifei debates of the Warring States period in ancient China and challenges the imposition of Western conceptual categories onto these debates. In recent decades, a growing concern in studies in Chinese intellectual history is that Chinese classics have been forced into systems of classification prevalent in Western philosophy and thus imperceptibly transformed into examples that echo Western philosophy. Lin Ma and Jaap van Brakel offer a methodology to counter this approach, and illustrate their (...) method by carrying out a transcultural inquiry into the complexities involved in understanding shi and fei and their cognate phrases in the Warring States texts, the Zhuangzi in particular. The authors discuss important features of Zhuangzi’s stance with regard to language-meaning, knowledge-doubt, questioning, equalizing, and his well-known deconstruction of the discourse in ancient China on shifei. Ma and van Brakel suggest that shi and fei apply to both descriptive and prescriptive languages and do not presuppose any fact/value dichotomy, and thus cannot be translated as either true/false or right/wrong. Instead, shi and feican be grasped in terms of a pre-philosophical notion of fitting. Ma and van Brakel also highlight Zhuangzi’s idea of “walking-two-roads” as the most significant component of his stance. In addition, they argue that all of Zhuangzi’s positive recommendations are presented in a language whose meaning is not fixed and that every stance he is committed to remains subject to fundamental questioning as a way of life. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

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

This paper reports (in section 1 “Introduction”) some quotes from Nelson Goodman which clarify that, contrary to a common misunderstanding, Goodman always denied that “grue” requires temporal information and “green” does not require temporal information; and, more in general, that Goodman always denied that grue-like predicates require additional information compared to what green-like predicates require. One of the quotations is the following, taken from the first page of the Foreword to chapter 8 “Induction” of the Goodman’s book “Problems and Projects”: (...) “Nevertheless, we may by now confidently conclude that no general distinction between projectible and non- projectible predicates can be drawn on syntactic or even on semantic grounds. Attempts to distinguish projectible predicates as purely qualitative, or non-projectible ones as time-dependent, for example, have plainly failed”. Barker and Achinstein in their famous paper of 1960 tried to demonstrate that the grue-speaker (named Mr. Grue in their paper) needs temporal information to be able to determine whether an object is grue, but Goodman replied (in “Positionality and Pictures”, contained in his book “Problems and Projects”, chapter 8, section 6b) that they failed to prove that Mr. Grue needs temporal information to determine whether an object is grue. According to Goodman, since the predicates “blue” and “green” are interdefinable with the predicates “grue” and “bleen”, “if we can tell which objects are blue and which objects are green, we can tell which ones are grue and which ones are bleen” [pages 12-13 of “Reconceptions in Philosophy and Other Arts and Sciences”]. But this paper points out that an example of interdefinability is also that one about the predicate “gruet”, which is a predicate that applies to an object if the object either is green and examined before time t, or is non-green and not examined before time t. The three predicates “green”, “gruet”, “examined before time t” are interdefinable: and even though the predicates “green” and “examined before time t” are interdefinable, being able to tell if an object is green does not imply being able to tell if an object is examined before time t (the interdefinability among three elements is a type of interdefinability present, for example, also among the logical connectives). Thus, it is wrong the Goodman’s thesis according to which if it is possible to determine without having temporal information whether the predicate “green” has to be applied to an object, then it is also possible to determine without having temporal information whether a predicate interdefinable with “green” has to be applied to an object. Another example of interdefinability is that one about a decidable predicate PD, which is interdefinable with an undecidable predicate PU: therefore even though we can tell whether an object is PD and whether an object is non-PD, we cannot tell whether an object is PU (since PU is an undecidable predicate) and whether an object is non-PU. Although the predicates PD and PU are interdefinable, the possibility to determine whether an object is PD does not imply the possibility to determine whether an object is PU (since PU is an undecidable predicate). Similarly, although the predicates “green” and “grue” are interdefinable, the possibility to determine whether an object is “green” even in absence of temporal information does not imply the possibility to determine whether an object is “grue” even in absence of temporal information. These and other examples about “grue” and “bleen” point out that even in case two predicates are interdefinable, the possibility to apply a predicate P does not imply the possibility to apply a predicate interdefinable with P. And that the possibility to apply the predicate “green” without having temporal information does not imply the possibility to apply the predicate “grue” without having temporal information. Furthermore, knowing that an object is both green and grue implies temporal information: in fact, we know by definition that a grue object can only be: 1) either green (in case the object is examined before time t); 2) or blue (in case the object is not examined before time t). Thus, knowing that an object is both grue and green, we know that we are faced with case 1, the case of a grue object that is green and examined before time t. Then the paper points out why the Goodman-Kripke paradox is a paradox about meaning that cannot have repercussions on induction. Finally the paper points out why Hume’s problem is a problem different from Goodman’s paradox and requires a specific treatment. -/- . (shrink)

In this paper, we examine the use of the term ‘life’ in the debates within and about synthetic biology. We review different positions within these debates, focusing on the historical background, the constructive epistemology of laboratory research and the pros and cons of metaphorical speech. We argue that ‘life’ is used as buzzword, as folk concept, and as theoretical concept in inhomogeneous ways. Extending beyond the review of the significant literature, we also argue that ‘life’ can be understood as aBurstwordin (...) two concrete senses. Firstly, terms such as life easily turn into fuzzy, foggy and buzzy clouds of nonsense, if their use is not appropriately reflected. In these cases, the semantic orientation is detonated. This is theBurstword Icharacteristic of the concept of ‘life’ that we reveal for its unclear terminological use. Secondly, and in contrast toBurstword I, we show that the concept of ‘life’ can be used in a methodologically controlled way. We call this kind of useBurstword II. Here the concept of ‘life’ fulfils the function of expanding an inadequately narrow disciplinary or conceptual focus in different discursive contexts. In this second sense, ‘life’ receives an important operational function, for instance as a transdisciplinary research principle. It turns out that the innovative function and paradigm-changing power of metaphorical speech belong here as well. Finally, we illustrate three ethically relevant examples that show how ‘life’ can be applied asBurstword IIin the context of synthetic biology. (shrink)

This paper considers the medium of videogames from a goodmanian standpoint. After some preliminary clarifications and definitions, I examine the ontological status of videogames. Against several existing accounts, I hold that what grounds their identity qua work types is code. The rest of the paper is dedicated to the epistemology of videogaming. Drawing on Nelson Goodman and Catherine Elgin's works, I suggest that the best model to defend videogame cognitivism appeals to the notion of understanding.

The consensus is that novels can be fully appreciated only through an experiential engagement with their well-formed instances. But what are the entities that serve as such instances? According to the orthodox view, these entities are primarily inscriptions—concrete texts written or printed on something or displayed on the screen of some electronic device. In this paper, I argue that this view is misguided, since well-formed instances of a novel must manifest certain sonic properties, but such properties cannot be manifested by (...) inscriptions. As an alternative, I put forward the view that the entities that serve as well-formed instances of novels are readings and sums of readings and graphic elements. (shrink)

This paper wants to know whether it would exist, or could exist, in worlds in which I didn't write it. Before we can answer this question, we first of all have to inquire as to what, exactly, this paper is. After exploring two forms of Platonism, and a theory that defines literary works in terms of events, I shall argue that the term ‘this paper’ is actually infected with ambiguity. Does this paper need me? It depends upon what you mean (...) by ‘this paper’. I lay out the options for what you might mean, and answer the question for each of the options. (shrink)

There is no consensus about appropriate philosophical method that can be relied on to settle philosophical questions and instead of established findings, there are multiple conflicting arguments and positions, and widespread disagreement and debate. Given this feature of philosophy, it might seem that philosophy has proven to be a worthless endeavour, with no possibility of philosophical progress. The challenge then is to develop a conception of philosophy that reconciles the lack of general or lasting agreement with the possibility of philosophical (...) progress. I present such a conception in this paper. I argue that the aim of philosophy is to resolve philosophical problems, which is different from establishing settled and final answers or positions. Philosophical problems involve inadequate or incongruous conceptions that cannot be settled once and for all but can be resolved by transforming our conceptions so they are now congruous and adequate. There is philosophical progress every time a warranted, defensible position is developed that resolves a philosophical problem, even if there are competing resolutions and further problems to resolve, as there always are in philosophy. (shrink)

The author argues for three interconnected theses which provide a cognitive account for why humans intuitively believe that others survive death. The first thesis, from which the second and third theses follow, is that the acceptance of afterlife beliefs is predisposed by a specific, and already well-documented, imaginative process - the offline social reasoning process. The second thesis is that afterlife beliefs are social in nature. The third thesis is that the living imagine the deceased as socially embodied in such (...) a way as to continue to fulfill on-going social obligations with others. The author further suggests six reasons why the fantasy/reality distinction breaks down for the imaginer such that the continued existence of the decedent in the afterlife is believed to be real. Finally, the author suggests avenues for further research which would support this cognitive account. (shrink)

The thesis proposes an account of the means of scientific representation focused on similarity, or more specifically, on the notion of “creative similarity”. I first distinguish between two different questions regarding the problem of representation: the question about the constituents and the question about the means of representation (following Suárez 2003; van Fraassen 2008). I argue that, although similarity is not a good candidate for constituent of representation, it can satisfactorily answer the question about the means of representation if adequately (...) characterized. To motivate this position, I dispute the main arguments offered against similarity as means of representation, namely the arguments from variety, vagueness, and misrepresentation, and contend that similarity plays a central epistemic role in practices of representing in science. The study of the role of similarity in scientific practice, I argue, requires the analysis of the uses of judgments of similarity in the construction of scientific models. I examine the cases of the Mississippi Basin Model and the San Francisco Bay Model to illustrate how judgments of similarity are directly involved in the production of epistemically fruitful models. Informed by the practical investigation developed throughout the thesis, I finally outline what I call the creative similarity account of the means of representation. The notion of “creative similarity” helps to capture the way in which similarity, as means of representation, intervenes in actual practices of representing, namely, in the form of a productive interplay of judgments of similarity and distortions (i.e. idealizations, abstractions, simplifications), which is employed by resourceful agents with the aim of understanding aspects of the natural world. (shrink)

The contribution examines Goodman’s conception of philosophy, in particular his remark that his project can be understood as a «critique of worldmaking». It is argued that, despite dealing with epistemological questions, the general theory of symbols and worldmaking does not answer them. Rather, it can be conceived as a practical conception comparable to Kant’s critique of reason or to Wittgenstein’s critique of language games, i. e. , as a philosophy of world orientation. It is claimed that Goodman himself could not (...) articulate this dimension of his position appropriately as he kept using the language of epistemology. Yet many aspects of his thinking become much clearer if they are interpreted within a non-epistemological frame. (shrink)

The aim of this article is to examine and defend videogame cognitivism (VC). According to VC, videogames can be a source of cognitive successes (such as true beliefs, knowledge or understanding) for their players. While the possibility of videogame-based learning has been an extensive topic of discussion in the last decades, the epistemological underpinnings of these debates often remain unclear. I propose that VC is a domain- specific brand of aesthetic cognitivism, which should be carefully distinguished from other views that (...) also insist on the cognitive or educational potential of videogames. After these clarifications, I discuss and assess different broad strategies to motivate VC: propositionalism, experientialism, and neocognitivism. These map the different ways in which videogames can prove epistemically valuable, showing them to be, respectively, sources of propositional knowledge, experiential knowledge, and understanding. I eventually argue that neocognitivism is a particularly promising and yet underexplored way to defend VC. (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)

This chapter provides an overview of the issues involved in recent debates about the epistemological relevance of emotions. We first survey some key issues in epistemology and the theory of emotions that inform various assessments of emotions’ potential significance in epistemology. We then distinguish five epistemic functions that have been claimed for emotions: motivational force, salience and relevance, access to facts and beliefs, non-propositional contributions to knowledge and understanding, and epistemic efficiency. We identify two core issues in the discussions about (...) such epistemic functions of emotions: First, even though it is plausible that emotions are involved in epistemic processes, it may be doubted whether they really matter for the normative question of what counts as knowledge or justified belief. Second, some of the epistemic functions claimed for emotions in general may only be attributed to some specifically epistemic emotions, which have been present all along in traditional epistemology, albeit under different labels such as ‘intuitions’. (shrink)

Cognitive advancement is not always a matter of acquiring new information. It often consists in reconfiguration--in reorganizing a domain so that hitherto overlooked or underemphasized features, patterns, opportunities, and resources come to light. Several modes of reconfiguration prominent in the arts--metaphor, fiction, exemplification, and perspective--play important roles in science as well. They do not perform the same roles as literal, descriptive, perspectiveless scientific truths. But to understand how science advances understanding, we need to appreciate the ineliminable cognitive contributions of non-literal, (...) non-descriptive symbols. (shrink)

The Spanish philosopher Gustavo Bueno coined the expression “substantive arts” to refer to those arts that do not serve any immediate, mundane or practical purpose. In this paper, I briefly present this idea and put forward a definition of the substantive arts as an alternative to those used until now. Starting from the assumption that since the end of the 18th century there has been a set of arts that have their own substantivity, I expound on certain criteria widely used (...) as distinctive features to define the substantive arts. I subsequently put forward an alternative intensional criterion to characterize the substantive arts. To end, I draw some corollaries following from the application of this criterion. (shrink)

Celem niniejszego artykułu jest wyznaczenie kierunków badań edukacyjnych w działalności Polskiej Szkoły Argumentacji oraz zainicjowanie dyskusji w polskim środowisku filozoficznym i wśród nauczycieli szkolnych. Opierając się na dotychczasowej działalności Szkoły w badaniach nad edukacją i tworzeniu standardów nauczania sztuki argumentacji oraz wątków edukacyjnych wyeksponowanych podczas XV konferencji ArgDiaP, formułujemy postulaty, które mogą stanowić część planu edukacyjnego w najbliższych latach. Realizacja tych postulatów może stanowić punkt odniesienia do realizacji długoterminowego planu tworzenia standardów nauczania sztuki argumentacji.

In this paper, I examine Nelson Goodman’s pluriworldism, understood as the claim that there exists a plurality of actual worlds. This proposal has generally been quickly dismissed in the philosophical literature. I argue that we ought to take it more seriously. As I show, many of the prima facie objections to pluriworldism may receive straightforward answers. I also examine in detail Goodman’s argument for the conclusion that there are many worlds and attempt to show how it might be supported. Eventually, (...) I discuss some underexplored challenges to pluriworldism. (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.

The publication of The Aesthetics of Science invites us to reflect, beyond the range of individual arguments advanced in it, on the general aims that motivate t.

Charles S. Peirce introduces the distinction between a token and a type into semiotics and philosophy by using as an example two ways of individuating words:(P1) A common mode of estimating the amount of matter in a MS. or printed book is to count the number of words. There will ordinarily be about twenty the's on a page, and of course they count as twenty words. In another sense of the word "word," however, there is but one word "the" in (...) the English language; and it is impossible that this word should lie visibly on a page or be heard in any voice, for the reason that it is not a Single thing or Single event. It does not exist; it only determines things that do exist. Such a definitely significant Form, I propose.. (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)

Goodman concurs in Hume’s contention that no theory has any probability relative to any set of data, and offers two accounts, compatible with that contention, of how some inductive inferences are nevertheless justified. The first, framed in terms of rules of inductive inference, is well known, significantly flawed, and enmeshed in Goodman’s unfortunate entrenchment theory and view of the mind as hypothesizing at random. The second, framed in terms of characteristics of inferred theories rather than rules of inference, is less (...) well known, but provides a compelling view of inductive justification. Once the two accounts are clearly delineated, one can see that both are driven by a single deep conviction: that inductive justification can only be understood in terms of our actual inductive practice. (shrink)

Na przykładzie teorii znaku ikonicznego Kazimierza Świrydowicza krytycznie omawiam teorie semantyczne dla znaków ikonicznych oparte na koncepcji podobieństwa i antykonwencjonalizmie. Przedstawiam również główne założenia, które powinna spełniać adekwatna teoria semantyczna dla znaków ikonicznych. P.

The discovery of Palaeolithic cave art in the late 19th century entails many problems, some of which are perceptual. Presenting doxology as a post-phenomenological way of approaching epistemic and perceptual questions, this article draws on the problematics of cave art and contemporary cognitive science to discuss the process of perception — what it takes to see what one sees — in caves (and elsewhere). The article concludes that in order to see and perceive anything at all, both our physical and (...) our conceptual resources — the light of the sun as well as the light of the mind, as Empedocles might have said — are needed. The light of the mind is always inextricably linked to doxa. Thus, the article argues that a doxological approach to questions of perception and knowledge is required. (shrink)

This paper addresses questions of ethics in the professional practice of architecture. It begins by discussing possible relationships between ethics and aesthetics. It then theorises ethics within concepts of 'practice', and argues for the importance of the context in architecture where narrative can be used to learn and to integrate past and present experience. Narrative reflection also takes in the future, and in the case of architecture there is a positive but not yet well accepted move (particularly within the 'academy') (...) to realise the imperative nature of architecture's responsibility with respect of global sustainability. Architects, more perhaps than other professions, use the faculty of imagination in their work, and this paper therefore maintains that architects as artists are uniquely qualified to exercise 'moral imagination' when it comes to situations where moral deliberation is needed. Pragmatism has given a new impetus to the importance of imagination in moral reflection, and I focus on John Dewey's categories of 'empathy' and 'dramatic rehearsal' as descriptors of moral imagination as applied in situations. I argue in conclusion firstly that empathy between end-users and architects is an essential but not always realised part of morality in architecture, and secondly that 'dramatic rehearsal', when extended more widely that a given situation, may lead architects to question the social, political and ecological contexts of their work and thus motivate them to prioritise the 'ethical' in all the choices they make. (shrink)

Philosophical discussions of depiction sometimes suffer from a lack of differentiation between several questions concerning the nature of pictorial representation. To provide a suitable framework I distinguish six such questions and several levels on which one might want to proceed in order to answer some of them. With this background, I reconstruct Goodman's and Elgin's answer to the specific question: What distinguishes the pictorial from the verbal or linguistic? I try to reveal some major motivations behind their system-oriented approach and (...) to indicate some reasons why a strategy of this kind is to a certain extent mandatory to grasp the nature of the pictorial. The system-relative and functional character of depiction has to be captured by every adequate theory. (shrink)

Discusses the conditions of possibility for intercultural and comparative philosophy, and for crosscultural communication at large. This innovative book explores the preconditions necessary for intercultural and comparative philosophy. Philosophical practices that involve at least two different traditions with no common heritage and whose languages have very different grammatical structure, such as Indo-Germanic languages and classical Chinese, are a particular focus. Lin Ma and Jaap van Brakel look at the necessary and not-so-necessary conditions of possibility of interpretation, comparison, and other forms (...) of interaction and how we can speak of similarities and differences in this context. The authors posit that it is necessary to dissolve the question of universalism versus relativism by replacing the ideal language paradigm with a paradigm of family resemblances and that it is not necessary to share a common language to engage in comparison. Numerous case studies are presented, including many comparisons of Western and Chinese concepts. (shrink)

This study investigates the composer-performer relationship in terms of the site of responsibility for the aesthetic features of the musical performance. It considers the extent to which the performer's view of that relationship affects the performance itself. This is accomplished by examining four focal points: the composer-performer relationship; composers' intentions; Nelson Goodman's account of notation, expression and style; and the work--including the writings--of Canadian pianist Glenn Gould. ;The composer is seen by some as predominantly responsible for the performance, with the (...) performer's role as that of fulfilling the composer's intentions. A contrasting perspective, cognizant of the significance of interpretive decisions, situates the performer as co-creator. ;Pivotal in this debate are the discrepancies surrounding the role of composers' intentions. Critical discussion of the Early Music Movement, considered here as a paradigm of historical authenticity, distinguishes between its proponents, for whom composers' intentions are authoritative, and its opponents, who perceive that historical authenticity, even if attainable, would be insufficient to ensure a work's aesthetic merit. ;This divergence derives from the fact that the musical performance is underdetermined by Western musical notation. Nelson Goodman addresses this by assigning to the musical score the function of identification: Any performance which complies with the score constitutes an instance of the work. Moreover, Goodman's account of expression and style recognizes the score's non-notational elements as instrumental to the aesthetic qualities of the performance. ;Goodman's theoretical account is then applied to the work of Glenn Gould. First, Gould's consideration of the performer as co-creator is identified as instrumental in determining the aesthetic features of his performances. The interpretive autonomy afforded by his perspective, it is argued, led to the development of a performance and compositional style characterized by a predilection for a manifestly contrapuntal rather than hierarchical structure. Gould's performances and compositions are shown to express views of an ethical as well as aesthetic nature, contributing to what Goodman terms "worldmaking," affirming the symbolic function of music. ;In conclusion, the performer's view of the performer-composer relationship is fundamental and determinant in defining the aesthetic features of the musical performance. (shrink)

After drawing attention to the basic importance of Goodman's workThe Structure of Appearance, this paper turns to a critical analysis of Goodman's claims concerning worldmaking. It stresses that Goodman's acceptance of a multiplicity of actual worlds doesnot involve the belief in an unknowable underlying reality; but that it is due to the non-mysterious fact that constructional systems allow for a multiplicity of disagreeing, right versions. However, from the point of view of truthmaker ontology, most worlds of constructional systems are not (...) genuine worlds; and so far it hasnot been shown that there are genuine truthmaker worlds that disagree.It is suggested that the construction of systems usually involves three conflicting aims: the logical, the ontological, and the psychological. Considering the current interest in cognitive psychology and phenomenology, the implications of the psychological aim, too, deserve to be reexamined. (shrink)

A theory of Goodman and Elgin concerning the individuation of literary works is examined and criticized. An alternative account is offered to meet various of the difficulties in their proposal. In addition, it is suggested that there may not be asingle account of the notion of a literary work that can best do all the jobs we expect of it.

Goodman and Elgin have recommended a reconception of philosophy. A central part of their recommendation is to replace knowledge by understanding. According to Elgin, some important internalist and externalist theories of knowledge favor a sort of undesirable cognitive minimalism. Against Elgin I try to show how the challenge of cognitive minimalism can be met. Goodman and Elgin claim that defeat and confusion are built into the concept of knowledge. They demand either its revision or its replacement or its supplement. I (...) show that these are three very different options. While agreeing with the view that there may be good reasons for some revisions and supplements, I strongly disagree with Elgin and Goodman's replacement thesis. (shrink)

In his Logical Investigations Edmund Husserl criticizes John Stuart Mill’s account of meaning as connotation, especially Mill’s failure to separate the distinction between connotative and non-connotative names from the distinction between the meaningful and the meaningless. According to Husserl, both connotative and non-connotative names have meaning or “signification”, that is, what Gottlob Frege calls the sense (“Sinn”) of an expression. The distinction between connotative and non-connotative names is a distinction between two kinds of meaning (or sense), attributive and non-attributive meaning (...) (“attributive und nicht-attributive Bedeutung”). Attributive (connotative) names denote (refer to) objects through their attributes, whereas a non-attributive name means a thing directly (“direkt”). In this paper I examine the concepts of attributive and non-attributive meaning by means of the semiotic theory of Charles S. Peirce, and compare Peirce’s account with the views of Frege, Husserl, Alexius Meinong, and David Kaplan and Gareth Evans. (shrink)

The paper attempts at yielding a language-independent argument in favour of fictional entities, that is, an argument providing genuinely ontological reasons in favour of such entities. According to this argument, ficta are indispensable insofar as they are involved in the identity conditions of semantically-based entities we ordinarily accept, i.e. fictional works. It will also be evaluated to what extent this argument is close to other arguments recently provided to the same purpose.

Using the example of architecture, this article defends the thesis that designing should not be regarded as a kind of experimenting. This is in contrast to a widespread methodological claim that design processes are equivalent to experimentation processes. The contrary thesis can be proven by focusing on actual practices, techniques and design strategies. Closely connected with the thesis is an even more important epistemological claim, which contends that designing serves not only to develop artefacts but is also a means of (...) acquiring genuine knowledge. When the epistemic relevance of said practices, techniques and strategies is reassessed, designing emerges clearly as an independent epistemic praxis. To defend the thesis, the present article draws on and analyses empirical material from an ethnographic field study in order to back up the conceptual analysis. (shrink)

La estética analítica hizo suyo, entre otros, el problema de la definición del arte y halló en el concepto dantiano de artworld una alternativa de solución eficiente. Motivador de subsecuentes propuestas, el costado más contextualista del programa de Arthur Danto debe aún enfrentar el reclamo de una supuesta falta de especificidad. Este escrito busca poner en diálogo dicho aporte teórico con los desarrollos hechos por Nelson Goodman en torno al arte a fin de aportar elementos de efectiva visibilidad frente a (...) tal reclamo. Al hacerlo, se prevé analizar la diferencia introducida por este último a propósito de la ejecución y la implementación como instancias configuradoras de lo artístico de espesor y relevancia para su lectura funcionalista. La articulación de un bloque explicativo afin a ambos planteos supone, así, una alternativa novedosa para el área teórica en que se inserta al tiempo que otorga una ventaja considerable frente al marco contextualista del tratamiento del problema. Analytic aesthetic addressed the problem of the definition of art and found an al ternative efficient solution in the Dantian concept of artworld. Nevertheless, the contextualist side of the Danto's program must face the claim of a certain lack of specificity. This paper seeks to link that with the developments made by Goodman around art in order to provide effective visible elements to such claim. In doing so, it is expected to analyze the difference between execution and implementation as central instances of artmaking according to his functionalist reading. The relation between both accounts represents, thus, an innovation over the theoretical area in which is inserted as much as a considerable advantage over the contextualist treatment of the problem. (shrink)

This article examines the philosophical issues that arise when preserving urban geological sites or urban geosites. These are preserved not only because of their geological value but also because of aesthetic, cultural, and economic reasons. To do so, it examines the geosite constituted by Olot and its surroundings, a city in Spain that extends amid four dormant volcanoes. It explores the metaphysical paradox that these geosites have become what they are due to the preservation of destruction: human-caused interventions, mostly extraction (...) of materials and exploitation of the land, are precisely what made these geosites visible as sites worth preserving and determining their metaphysical status. It further explores the preservation criteria and shows how they have determined the status of the geosite. Second, it shows how in such urban geosites the collapse of two diametrically opposed conceptions of time – the geological eon and the lived human time – occurs. Lastly, it discusses aesthetic aspects of such geosites by considering aesthetic experience as a primarily cognitive endeavor and shows how metaphysical, epistemological, and aesthetic issues of preservation of geosites are inextricably linked. (shrink)