In this paper, I discuss how the principle of identifying knowledge which Strawson advances in ‘Singular Terms and Predication’ (1961), and in ‘Identifying Reference and Truth-Values’ (1964) turns out to constrain communication. The principle states that a speaker’s use of a referring expression should invoke identifying knowledge on the part of the hearer, if the hearer is to understand what the speaker is saying, and also that, in so referring, speakers are attentive to hearers’ epistemic states. In contrasting it with (...) Russell’s Principle (Evans 1982), as well as with the principle of identifying descriptions (Donnellan 1970), I try to show that the principle of identifying knowledge, ultimately a condition for understanding, makes sense only in a situation of conversation. This allows me to conclude that the cooperative feature of communication (Grice 1975) and reference (Clark andWilkes-Gibbs 1986) holds also at the understanding level. Finally, I discuss where Strawson’s views seem to be unsatisfactory, and suggest how they might be improved. (shrink)

The feeling of being offended, as a moral emotion, plays a key role in issues such as slurs, the offense principle, ethics of humor, etc. However, no adequate theory of offense has been developed in the literature, and it remains unclear what questions such a theory should answer. This paper attempts to fill the gap by performing two tasks. The first task is to clarify and summarize the questions of offense into two kinds, the descriptive questions (e.g., what features differentiate (...) offense from similar moral states like anger?) and the normative questions (e.g., what are the conditions for taking offense to be apt?). The second task is to answer these questions by developing what I call ‘the violated norm theory of offense’. According to this theory, feeling offended entails that the norm one endorses is judged to be violated by the offender. Appealing to the violated norm enables this theory to answer the descriptive questions (e.g., taking offense differs from anger because of features like not requiring victims and the difficulty of animal offense) and the normative questions of offense (e.g., taking offense is apt only if the violated norm is universalizable). (shrink)

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses to (...) the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To examine the illusion view in detail, I adopt a comparative approach to structure a dialogue between ancient Eastern philosophy and contemporary Western philosophy. Nine arguments are constructed from three prominent approaches in contemporary Western musical aesthetics on the evocation, expression, and representation of emotion. I argue that each of these arguments reads emotion into music. Nevertheless, three insights emerge from the comparative discussion. The autonomy of emotional enjoyment, the possibility of emotional communication, and the function of emotional language in musical experiences call for explanations. I argue that the illusion view are amenable to these insights. The illusion view allows us to claim full ownership of emotional responses, have emotional communication by recognizing intended emotional meanings in music, and appreciate the practical value of emotional language in music industry and education. I formulate a possible objection on the basis of Charles Swann’s musical experience in Marcel Proust’s novel, according to which music has emotional agency in the formation of an emotion. This objection can be met and Swann’s musical experience can be integrated into the illusion view. The illusion view turns out to be experientially richer than it might appear at first. This project liberates musical listening and philosophical thinking from beliefs entrenched in the emotional illusion of music. (shrink)

The concept of recognition (Anerkennung in German) has been in the center of intensive interest and debate for some time in social and political philosophy, as well as in Hegel-scholarship. The first part of the article clarifies conceptually what recognition in the relevant sense arguably is. The second part explores one possible route for arguing that the „recognitive attitudes‟ of respect and love have a necessary role in the coming about of the psychological capacities distinctive of persons. More exactly, it (...) explores the possibility that they are necessary in the kind of intersubjective relationship in which normal human infants engage in the pre-linguistic communicative practice of pointing things to others, as described by Michael Tomasello. If an incapacity to participate in the already Gricean communicative practices of pointing makes it also impossible for the infant to learn symbolic communication, and if without the immediately intrinsically motivating other-regarding attitudes of recognition communicative pointing does not get off the ground (at least among the most intelligent animals currently known to exist), then the capacity for recognition may be a decisive difference between humans and their closest non-human relatives. That is, it may be why only human infants, but no other animals, are capable of embarking on a developmental journey that normally leads to full-fledged psychological personhood. If this is so, then the concept of recognition, today mostly discussed in social and political philosophy and Hegel-studies, could turn out to be a very useful tool in cognitive scientific work interested in specifically human forms of social intentionality, cognition, volition and so forth. (shrink)

One of the most important contributions in Roland Posner’s work (1993) was the extension and development of the Gricean paradigm on meaning (1957) in a systematic framework, providing thus a general foundation of semiotic phenomena. According to this approach, communication consists in behaviors or artifacts based on reciprocal assumptions about the intentions and beliefs of the subjects involved in a semiotic exchange. Posner’s model develops with clarity the hierarchical relationships of semiotic phenomena of different complexity, from simple pre-communicative behaviors (like (...) indicating or signaling) to full communicative acts. Not only limited to linguistic communication, this framework can be successfully extended in the description of all kind of sign production, from gestures to artifacts. This article discusses a key point of this paradigm, namely our faculty to at-tribute mental states to other individuals through the observation of their behavior, artifacts or texts. New insights from neuropsychology and developmental psychology are discussed in supporting the validity of this model of communication. (shrink)

One of the earliest issues in cognitive ethology concerned the meaning of animal signals. In the 1970s and 1980s this debate was most active with respect to the question of whether animal alarm calls convey information about the emotional states of animals or whether they “refer” directly to predators in the environment (Seyfarth, Cheney, & Marler 1980; see Radick 2007 for a historical account), but other areas, such as vocalizations about food and social contact, were also widely discussed. In the (...) 1990s, ethologists largely came to a consensus that such calls were “functionally referential” (Evans & Marler 1995) even if they did not satisfy all the semantic requirements imposed by philosophers of language. More recently, though, it has been argued that ethologists should eschew the concept of reference and return to a focus on the affective aspects of animal communication (Rendall & Owren 2002). We propose to take a new look at this debate in the light of recent developments in the philosophy of language under the heading of “Neo-Expressivism” (Bar-On 2004). This view provides two different senses.. (shrink)

There are some objects of perception that are either too far from us to touch or that cannot be touched at all. Typical examples are the sky and the various phenomena that appear in the sky such as rainbows and sunsets. This paper is concerned with the ontological status of the rainbow. Does it exist when it is not actually perceived? Does it exist even when it is not possibly perceived? My conclusion is that a rainbow is a physical event, (...) and that, although it is recognized as a rainbow by its characteristic visual appearance, it should not be identified with that appearance. I suggest that the case of the rainbow might give us useful hints for the analysis of secondary qualities like colors and sounds. (shrink)

Considering the close relation between language and theory of mind in development and their tight connection in social behavior, it is no big leap to claim that the two capacities have been related in evolution as well. But what is the exact relation between them? This paper attempts to clear a path toward an answer. I consider several possible relations between the two faculties, bring conceptual arguments and empirical evidence to bear on them, and end up arguing for a version (...) of co-evolution. To model this co-evolution, we must distinguish between different stages or levels of language and theory of mind, which fueled each other’s evolution in a protracted escalation process. (shrink)

Imperative and declarative pointing are distinct kinds of communicative acts that rely on different cognitive capacities in the speakers. Declarative pointing is an important precursor to language, seen from both an evolutionary and a developmental perspective. Declarative pointing is functionally independent of affective intersubjectivity, yet it is intimately related to it in development. It is argued that declarative pointing once evolved because it allows for the mutual evaluation of joint objects of attention. Interaffectivity and joint attention to a distal object (...) together constitute the prerequisites for using declarative pointing for the purpose of evaluation. Mutual evaluation has the benefits of enhancing co-operation and allowing for vicarious learning. It also makes possible the non-linguistic, active interrogation of others about their attitudes to jointly attended objects. (shrink)

The culture-economy dialectic (CED) – the opposition of the concepts and phenomena of culture and economy – is one of the most important ideas in the modern history of ideas. Both disciplinary boundaries and much theoretical thought in social science are strongly influenced or even determined by the CED. For that reason, a thorough analysis and evaluation of the CED is needed to improve understanding of the history of ideas in social science and the currently fashionable research on the cultural (...) influences on economic differences between countries and regions. This thesis is an attempt to do just that. The concepts of “culture” and “economy” (and related concepts) and the (assumed) relations therebetween are compared and analyzed. Empirical results from earlier studies are summarized and some new test are presented. These new tests are partly based on a measurement of Dutch regional culture. However, most theories of the CED are (nearly) impossible to verify (empirically). There appears to be some influence of wealth on specific cultural phenomena (such as individualism and post-materialism), but the often assumed influence of culture on entrepreneurship and economic growth remains unconfirmed. Moreover, from an analysis of the theories themselves, it appears that most of these cannot be falsified and are, therefore, hardly 'scientific'. Many of the theories of the CED and, in fact, many theories of social science in general are of a conceptual rather than a causal nature. These theories cannot be falsified (or verified) by empirical means alone, but must be studied by means of conceptual analysis. In the final conclusions, this thesis, therefore, argues for conceptual analysis in – and a more anarchist approach to – social science. (shrink)

En s’appuyant sur les résultats de la psychologie évolutionniste, nous examinons les différentes fonctions importantes que puisse remplir la conscience dans les robots autonomes : action contrôlée, prise de conscience, conscience de soi, métacognition, conscience du moi. Nous distinguons l’intentionnalité intrinsèque de la conscience, mais soutenons également l’importance de la compréhension de la cognition robotique. Enfin, nous étudions le « Hard Problem » concernant les robots, c’est-à-dire la question de savoir s’ils peuvent connaître une prise de conscience subjective, dans une (...) perspective de la théorie du protophénomène. (shrink)

The question is what are the preconditions for being able to rephrase visual objects in propositional form and consequently in argumentational terms. The idea is to identify the fundamentals of a linguistic-semiotic analysis of visual objects, which rest on philosophical notions in logic, linguistics and aesthetics.

In order for visual objects to be fully integrated in argumentation studies, we should be able to show how some visual objects can be part of a rational communication process and be analyzed as part of rational activity, where audiences reason their way to intentions and beliefs via their recognition of the arguer's intention to produce such results. This paper will focus on the way to enable the embedment of some visual objects in argumentation theory.

In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread acceptance outside of the philosophy of art, (...) has been largely denigrated within it: namely, that representation fundamentally depends on structural resemblance. Finally, I demonstrate how conceiving of artistic representation as grounded upon structural resemblances, rather than as a mode of meaningful communication, provides us with a more accurate picture of both (a) how music represents and (b) how we perceive and appreciate musical representations. (shrink)