Das Buch verschafft einen Überblick über die neuere Willensfreiheitsdebatte, wobei es auch die Konsequenzen der Hirnforschung für das Freiheitsproblem erörtert. Ferner entwickelt der Autor eine eigene Position, die er 'fähigkeitsbasierten Libertarismus' nennt. Er widerspricht dem breiten philosophischen Konsens, dass jedenfalls eine Art von Freiheit mit einem naturwissenschaftlichen Weltbild unverträglich sei, nämlich die Fähigkeit, sich unter gegebenen Bedingungen so oder anders zu entscheiden. Im Buch wird argumentiert, dass der libertarischen Freiheitsauffassung, die wir im Alltag alle teilen, bei näherer Betrachtung keine Tatschen (...) entgegenstehen, sondern nur philosophische Doktrinen. Zwar können wir durch unser Handeln keine Naturgesetze abändern und sind auch keine ersten Beweger, aber für ein So-oder-Anderskönnen bedarf es dessen nicht. (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)

Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...) che ci sbagliamo e che queste nostre intuizioni non siano affidabili. Questo contributo è un'introduzione alle principali teorie della rappresentazione pittorica, che mirano a comprendere la natura della modalità di rappresentazione che distingue le immagini che rappresentano visivamente aspetti visibili di altri oggetti. Dopo alcune considerazioni preliminari, presento cinque concetti centrali per la comprensione della natura delle rappresentazioni pittoriche: proprietà prospettiche, riconoscimento, esperienza, somiglianza, struttura. Secondo alcuni, la natura della rappresentazione pittorica si può comprendere considerando certe particolari proprietà degli oggetti che chiamiamo "rappresentazioni pittoriche" (come le proprietà prospettiche, di somiglianza, o strutturali), secondo altri la si può comprendere indagando le peculiarità dell'esperienza di visione di una rappresentazione pittorica, o individuando quali abilità cognitive sono mobilitate quando afferriamo il contenuto di una rappresentazione pittorica. Talvolta più strategie esplicative sono adottate nel contesto della stessa teoria. (shrink)

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique the (...) phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account. (shrink)