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I present three invented languages, in order to support a claim that vagueness and demonstrativity are related. One of them handles vagueness like English handles demonstratives, the second handles demonstratives like English handles vagueness, and the third combines the resources of the first two. The argument depends on the claim that all three can be learned and used by anyone who can speak English. |
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Based on the notion of a trope, this paper gives a novel analysis of identificational sentences such as 'this is Mary','this is a beautiful woman', 'this looks like Mary', or 'this is the same lump of clay, but not the same statue as that'. |
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In a recent paper (Linguistics and Philosophy 23, 4, June 2000), Jason Stanley argues that there are no `unarticulated constituents', contrary to what advocates of Truth-conditional pragmatics (TCP) have claimed. All truth-conditional effects of context can be traced to logical form, he says. In this paper I maintain that there are unarticulated constituents, and I defend TCP. Stanley's argument exploits the fact that the alleged unarticulated constituents can be `bound', that is, they can be made to vary with the values (...) |
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Indexical predication is possible as well as the more familiar indexical reference. ‘My curtains are coloured thus’ describes my curtains. The indexical predicate expression it contains stands to possible non‐indexical replacements as a referring indexical does to possible non‐indexical replacements , in that it calls upon the context of utterance to fix its semantic contribution to the whole. Indexical predication is the natural resource to call upon in talk about skilful human performances, where we exhibit considerable know‐how but little explicit (...) |
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This article proposes a locative function as a defining feature of situated art. All artworks orient their beholders, but situated art is characterized by this context-sensitive orientation entering the work’s content. In so doing, it facilitates ‘here’- and ‘now’-thoughts, not only towards the “real” situation encountered (the work’s outer orientation) but to the work’s “virtual” or “bracketed” realm (its inner orientation). These orientations overlap, but do not necessarily align; indeed, situated works often construct a tension through a deliberate miscalibration of (...) |
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The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces (...) |
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2020 update of the entry "Properties". |
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What is the relation between small-scale collaborative plans and the execution of those plans within interactive contexts? I argue here that joint attention has a key role in explaining how shared plans and shared intentions are executed in interactive contexts. Within singular action, attention plays the functional role of enabling intentional action to be guided by a prior intention. Within interactive joint action, it is joint attention, I argue, that plays a similar functional role of enabling the agents to act (...) |
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Cooperation admits of degrees. When factory workers stage a slowdown, they do not cease to cooperate with management in the production of goods altogether, but they are not fully cooperative either. Full cooperation implies that participants in a joint action are committed to rendering appropriate contributions as needed toward their joint end so as to bring it about, consistently with the type of action and the generally agreed upon constraints within which they work, as efficiently as they can, where their (...) |
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At least Kant thinks it's a part of the concept that gold is to be a yellow metal. He thinks that we know this a priori, and that we could not discover it to be empirically false … Is Kant right about this? Gold [is] … a yellow malleable ductile high density metallic element resistant to chemical reaction. Nature considered materially is the totality of all objects of experience. Kant's joke. Kant wanted to prove in a way that would dumbfound (...) |
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How do we acquire thoughts and beliefs about particulars by looking at pictures? One kind of reply essentially compares depiction to perception, holding that picture-perception is a form of remote object-perception. Lopes’s theory that pictures refer by demonstrative identification, and Walton’s transparency theory for photographs, constitute such remote acquaintance theories of depiction. The main purpose of this paper is to defend an alternative conception of pictures, on which they are not suitable for acquainting us with particulars but for acquainting us (...) |
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Followers of Wittgenstein allegedly once held that a meaningful claim to know that p could only be made if there was some doubt about the truth of p. The correct response to this thesis involved appealing to the distinction between the semantic content of a sentence and features attaching to its use. It is inappropriate to assert a knowledge-claim unless someone in the audience has doubt about what the speaker claims to know. But this fact has nothing to do with (...) |
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Philosophers who accept tropes generally agree that tropes act as the objects of reference of nominalizations of adjectives, such as 'Socrates’ wisdom' or 'the beauty of the landscape'. This paper argues that tropes play a further important role in the semantics of natural language, namely in the semantics of bare demonstratives like 'this' and 'that' in what in linguistics is called identificational sentences. |
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The main objective of this paper is to understand the logic role played by photographs in thoughts about entities known only through photographs. I will contrast two general interpretative lines: photography as knowledge by acquaintance and as knowledge by description. The analyses of those interpretations will take into account possible relations with discussions about metaphysics of time and episodic memory. Throughout the paper I will criticize the treatment of photography as acquaintance, based on John Zeimbekis' interpretation. In its treatment as (...) |
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