This philosophical anthropology tries to explore the basic categories of man’s being in the worlds using a special quantum meta-ontology that is introduced in the book. Quantum understanding of space and time, consciousness, or empirical/nonempirical reality elicits new questions relating to philosophical concerns such as subjectivity, free will, mind, perception, experience, dialectic, or agency. The authors have developed an inspiring theoretical framework transcending the boundaries of particular disciplines, e.g. quantum philosophy, metaphysics of consciousness, philosophy of mind, phenomenology of space and (...) time, and ontological relativity. (shrink)

This paper argues that Paul Ricoeur’s hermeneutical philosophy attempts to reopen the question of human transcendence in contemporary terms. While his conception of language as self-transcending is deeply Husserlian, Ricoeur also responds to the analytical challenge when he deploys a basic distinction in Fregean logic in order to clarify Heidegger’s phenomenology of world. Ricoeur’s commitment to a transcendental view is evident in his conception of narrative, which enables him to emphasize the role of the performative in literary reading. The meaning (...) of the self in time provides Ricoeur with a discursive basis for distinguishing his own position from that of Kant and other philosophers in the transcendental tradition. (shrink)

Consider a game of blind chess between two chess masters that is recorded in some standard chess notation. The recording is a representation of the game. But what is the game itself? This question is, we believe, central to the entire domain of social ontology. We argue that the recorded game is a special sort of quasi-abstract pattern, something that is: (i) like abstract entities such as numbers or forms, in that it is both nonphysical and nonpsychological; but at the (...) same time, (ii) through its association with specific players and a specific occasion, tied to time and history. We discover other abstract patterns of this sort especially in the domains of law and commerce. This essay draws on the work in social ontology, we of Hernando de Soto and of John Searle to develop an ontology of the social world based on an analysis of the peculiar interdependence between quasi-abstract patterns and their representations in documents of different sorts. (shrink)

John Searle’s The Construction of Social Reality and Hernando de Soto’s The Mystery of Capital shifted the focus of current thought on capital and economic development to the cultural and conceptual ideas that underpin market economies and that are taken for granted in developed nations. This collection of essays assembles 21 philosophers, economists, and political scientists to help readers understand these exciting new theories.

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots (...) of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

Ontology as a branch of philosophy is the science of what is, of the kinds and structures of objects, properties, events, processes and relations in every area of reality. ‘Ontology’ in this sense is often used by philosophers as a synonym of ‘metaphysics’ (a label meaning literally: ‘what comes after the Physics’), a term used by early students of Aristotle to refer to what Aristotle himself called ‘first philosophy’. But in recent years, in a development hardly noticed by philosophers, the (...) term ‘ontology’ has gained currency in the field of computer and information science, and in information-driven research in bioinformatics and related areas. We examine these new developments in applied ontology, and show what lessons they might have for both philosophers and information scientists. (shrink)

The book’s core argument is that an artificial intelligence that could equal or exceed human intelligence—sometimes called artificial general intelligence (AGI)—is for mathematical reasons impossible. It offers two specific reasons for this claim: Human intelligence is a capability of a complex dynamic system—the human brain and central nervous system. Systems of this sort cannot be modelled mathematically in a way that allows them to operate inside a computer. In supporting their claim, the authors, Jobst Landgrebe and Barry Smith, marshal evidence (...) from mathematics, physics, computer science, philosophy, linguistics, and biology, setting up their book around three central questions: What are the essential marks of human intelligence? What is it that researchers try to do when they attempt to achieve "artificial intelligence" (AI)? And why, after more than 50 years, are our most common interactions with AI, for example with our bank’s computers, still so unsatisfactory? Landgrebe and Smith show how a widespread fear about AI’s potential to bring about radical changes in the nature of human beings and in the human social order is founded on an error. There is still, as they demonstrate in a final chapter, a great deal that AI can achieve which will benefit humanity. But these benefits will be achieved without the aid of systems that are more powerful than humans, which are as impossible as AI systems that are intrinsically "evil" or able to "will" a takeover of human society. (shrink)

The aim of this paper is to argue that proper artistic failure may turn out to be artistically appreciated and even considered as artistically successful. A set of arguments is provided in order to overcome intentionalism, the widely accepted view according to which an artist’s intentions fix the artwork’s meaning. Instead, we propose and elaborate an alternative model: emergentism of artistic meaning and value. Emergentism explains how artistic failure can turn out to be artistically successful. That is, artworks may succeed (...) despite the failure of the realization of artistic intentions. It is argued that such a rehabilitation of artistic failures, perceiving them as not necessarily doomed, paves the path for experiencing failures as not merely failures. The paper suggests that under defined circum- stances it is possible to receive aesthetic satisfaction from failures. Moreover, the possibility of treating failures as valuable, yet risky, artistic strategy is suggested. (shrink)

This project begins with the selective sensory experience suggested by lngarden followed by an insensitivity he insinuates to digestive processes. This is juxtaposed with an oenological explanation of phenomenal sedimentation offered by Jean-Luc Marion. It compares the dynamics of time in the former with the those of wine in the latter. Emphasis is given to lngarden's insinuation of time as fluid, liquid, or aquatic. It revisits Ingarden's physiological explanations of partially-open systems by way of the bilateral excretion and absorption of (...) semi-permeable cellular membranes. The importance he eventually grants to inner secretion is considered alongside perspiration and salivation collateral to skin and membranes. It suggests that Ingarden's interest in thermoregulation, partial permeation, and secretion invites alternative conceptions of temporal consciousness in physiological experiences, beyond sequential and linear clock-time and/or Kantian intuition. Temporality experienced as temperance becomes discernible at a permeable point in which the sedimentation of Husserl, the maturation of Marion, and the fluidity and secretion of Ingarden mix and mingle into the taste of time. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

Presentiamo qui la traduzione di un lungo saggio sull’ontologia e i sistemi informativi. Abbiamo tradotto la parte più generale con le distinzioni base tra ontologia, metafisica e scienza. L’autore, fornendo un suo punto di vista peculiare sull’ontologia, descrive le diverse questioni e distinzioni connesse all’impresa ontologica, considerando sia il punto di vista dei filosofi che degli informatici.

The paper seeks to apply the work of the Polish phenomenologist Roman Ingarden to certain problems in literary theory; contrasts the notions of ontological and epistemological incompleteness of the represented objects of a literary work and considers the question of the nature of such objects. The paper concludes by analyzing some of the degrees of freedom possessed by the readings of literary work in relation to the work itself.

Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.

In this paper I present the Ingardenian distinction between inseparability and dependence. My considerations are both historical and systematic. The historical part of the paper accomplishes two goals. First, I show that in the Brentanian tradition the problem of existential conditioning was entangled into parts—whole theories. The best examples of such an approach are Kazimierz Twardowski’s theory of the object and Edmund Husserl’s theory of parts and wholes. Second, I exhibit the context within which Ingarden distinguished inseparability and dependence. Moreover, (...) Ingarden’s motivations are presented: the problem of understanding the Husserlian concept of “immanent transcendence,” the issue of the existence of purely intentional objects, and finally the problem of the relationship between individual objects and ideas. The systematic part deals with the ambiguity of Ingarden’s definition of inseparability. I seek to improve this definition by reference to the distinction between absolute and summative wholes. I also present some divisions of inseparability and dependence and investigate whether these types of existential conditioning are reflexive, symmetric, or transitive. (shrink)

The goal of creating Artificial General Intelligence (AGI) – or in other words of creating Turing machines (modern computers) that can behave in a way that mimics human intelligence – has occupied AI researchers ever since the idea of AI was first proposed. One common theme in these discussions is the thesis that the ability of a machine to conduct convincing dialogues with human beings can serve as at least a sufficient criterion of AGI. We argue that this very ability (...) should be accepted also as a necessary condition of AGI, and we provide a description of the nature of human dialogue in particular and of human language in general against this background. We then argue that it is for mathematical reasons impossible to program a machine in such a way that it could master human dialogue behaviour in its full generality. This is (1) because there are no traditional explicitly designed mathematical models that could be used as a starting point for creating such programs; and (2) because even the sorts of automated models generated by using machine learning, which have been used successfully in areas such as machine translation, cannot be extended to cope with human dialogue. If this is so, then we can conclude that a Turing machine also cannot possess AGI, because it fails to fulfil a necessary condition thereof. At the same time, however, we acknowledge the potential of Turing machines to master dialogue behaviour in highly restricted contexts, where what is called “narrow” AI can still be of considerable utility. (shrink)

In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a problem (...) with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the role of aurally presented phonetic content in the concretized sound-synchronized film, we could better understand how film has the seeming magical capacity to transfix us. (shrink)

This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in the discussion of the ontological status of fictional entities and of their constitution and in the inquiry into the interaction between author and receiver of a fictional work. Based on the critical assessment of different approaches in (...) the debate on speech-act theory and literary fiction, the article first clarifies why the study of the performative character of fictional language cannot be reduced to either the discussion of the status of singular speech acts in the fiction or the inquiry into the pretend or unserious nature of fictional speech acts formulated by an author. While referring to Roman Ingarden’s, Jean-Paul Sartre’s, and Wolfgang Iser’s work, it subsequently argues that such a performative character should be understood as a specific serious affordance—or appeal—to imagine and thus to participate in the constitution of the fictional world. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that occupied him for his entire career. In this article I briefly describe this program of phenomenological research, then I discuss some of the major features of Ingarden’s analyses of works of art (...) and the aesthetic experience. (shrink)

This paper considers the nature of time and temporality in Homer. It argues that any exploration of narrative and time must, as its central tenet, take into account the irreducible plurality and interconnectedness of memory, the event, and experienced time. Drawing on notions of complexity, emergence, and stochastic behavior in science as well as phenomenological traditions in the discussion and analysis of time, temporality, and change, and offering extensive readings of Homer, of Homeric epithets and formulae, and of key passages (...) in the Iliad and Odyssey, the paper argues against chronological notions of linear time and progression and in favor of a complex, dynamic temporal “geometries” of Homeric temporality. The paper concludes by briefly extending the argument to the wider domain of ancient time in general. Homer is a fundamental point of reference in the ancient world. Thus, Homeric temporality—irreducibly complex—affects the cognition and perception of time throughout the whole of antiquity. (shrink)

According to the so-called ‘artifactual theory’ of fiction, fictional objects are to be considered as abstract artifacts. Within this framework, fictional objects are defined on the basis of their complex dependence on literary works, authors, and readership. This theory is explicitly distinguished from other approaches to fictions, notably from the imaginary-object theory. In this article, I argue that the two approaches are not mutually exclusive but can and should be integrated. In particular, the ontology of fiction can be fruitfully supplemented (...) by a phenomenological analysis, which allows us to clarify the defining modes of givenness of fictional objects. Likewise, based on the results of the artifactual theory, some assumptions in the imaginary-object theory, which are liable to be interpreted as laying the ground to phenomenalism, can be corrected. (shrink)

The time of the literary work of art is a schematized aspect of the represented objectivities of the literary work. Roman Ingarden’s analysis of the time of the literary work extends upon Husserl’s phenomenology of time consciousness but nevertheless remains consistent with it, insofar as within a literary work as well as actuality, an objective time or literary objective time is constituted from an experience of temporal objects. The time of the literary work of art is experienced through its represented (...) objectivities and depends on an already existent concept of objective time. The time of the literary work, however, gains an indeterminacy, as the author of the literary work is able to manipulate our experience of time within the literary work by predicting how the reader will concretize its events, characters, and objects with respect to time. I use Alain Robbe-Grillet’s representation of the centipede in La Jalousie as an example of the possible manipulations of time, explicable through Ingarden’s analysis of time in the literary work of art. (shrink)

After briefly remarking on previous treatments of empathy in the philosophical and psychological literature, I outline Stein’s treatment of this concept in On the Problem of Empathy and Philosophy of Psychology and the Humanities, illustrating the problematic breadth of her application of the term ‘empathy,’ a breadth that Stein herself calls to our attention. After a brief discussion of Stein’s treatment of empathy and the experience of value, I turn to certain features of Roman Ingarden’s analyses of aesthetic experience found (...) in The Literary Work of Art and The Cognition of the Work of Art that deal with what he refers to as the reader’s ‘emotional coexperience’ of situations and events represented in the work of art. I conclude by comparing Stein’s account of empathy with Ingarden’s account of aesthetic experience, both of which deal at length with the subjective activities of “feeling with” and emotional coexperience. (shrink)

The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a (...) student of Ingarden, whose theory seems to lead one beyond the scope of ontology. Blaustein, namely, reconsiders Ingarden’s theory of purely intentional objects by interpreting it in a descriptive-psychological, or phenomenological fashion. The article is divided into four parts. In section 1, the author highlights historical interconnections between Ingarden, and Blaustein. Section 2.1. is devoted to Ingarden’s phenomenological approach towards aesthetic experience as a phasic structure. At this basis, in section 2.2., Ingarden’s early theory of intentional objects is to be discussed. Section 3 concerns Blaustein’s contribution to phenomenology of aesthetic experience. Given that Blaustein formulates his theory in discussion with Ingarden, section 3.1. is devoted to Blaustein’s critical assessment of Ingarden’s method, and aesthetics. Next, in section 3.2., the author presents Blaustein’s original theory of presentations, and its use in aesthetics. Finally, in section 4, the author lists similarities, and differences between Blaustein’s and Ingarden’s aesthetic theories. (shrink)

From an ontological point of view, virtuality is generally considered a simulation: i.e. not a case of true being, and never more than an illusory copy, referring in each instance to its real original. It is treated as something imagined — and, phenomenologically speaking, as an intentional object. It is also often characterized as fictive. On the other hand, the virtual world itself is extremely rich, and thanks to new technologies is growing with unbelievable speed, so that it now influences (...) the real world in quite unexpected ways. Thus, it is also sometimes considered real. In this paper, against those who would regard virtuality as fictional or as real, I claim that the virtual world straddles the boundary between these two ways of existence: that it becomes real. I appeal to Roman Ingarden’s existential ontology to show that virtual objects become existentially autonomous, and so can be attributed a form of actuality and causal efficaciousness. I conclude that the existential autonomy and actuality of virtual objects makes them count as real objects, but also means that they undergo a change in their mode of existence. (shrink)

Ingarden’s phenomenology of aesthetics is characterised primarily as a realist ontological approach which is secondarily concerned with acts of consciousness. This approach leads to a stark contrast between spatiotemporal objects and literary objects. Ontologically, the former is autonomous, totally determined, and in possession of infinite attributes, whilst the latter is a heteronomous intentional object that has only limited determinations and infinitely many “spots of indeterminacy.” Although spots of indeterminacy are often discussed, the role they play in contrasting the real and (...) literary object is not often disputed. Through a close reading of Ingarden’s ontological works and texts on aesthetics, this essay contests the purity of Ingarden’s ontological approach and the ensuing disparity between real and literary object, particularly on the question of spots of indeterminacy. I do this by demonstrating the following five theses: 1) Ingarden’s claim that the real object has an infinitude of properties belies an epistemology, and we should instead conclude that ontologically the real object’s properties are finite. 2) Ingarden’s a priori argument that absent properties of real objects are ontologically determined is unsound. 3) The radical difference between the infinitude and finitude of givenness and absence of the real and the literary object ought to be relativised. 4) Indeterminacies within the novel are concretised in much the same way that absent properties of real objects are intended. 5) Literature makes claims that have a truth value that we can attribute to their author. (shrink)

Martin Heidegger closes his Winter Semester 1927–28 lectures by claiming that Kant’s Critique of Pure Reason, read through the lens of Edmund Husserl’s phenomenology, confirmed the accuracy of his philosophical path culminating in Being and Time. A notable interpretation of Heidegger’s debt to Kant, advanced by William Blattner, presents Heidegger as a temporal idealist. I argue that attention to Husserl’s adaptation of Kant’s critical philosophy shows that both Husserl and Heidegger are realists. I make my case by tracing a unified (...) philosophical problematic through three puzzling passages: the Schematism chapter of the first Critique, Husserl’s thought experiment of the destruction of the world in Ideas, and the passage in Being and Time that motivates Blattner’s idealist reading. Husserl and Heidegger give accounts, derived from Kant, of how the consciousness of time makes it possible for objects to be perceived as enduring unities, as well as ‘genealogies of logic’ that show how a priori knowledge, including ontology, is possible. These accounts are idealistic only in the sense that they concern the ideal or essential features of intentionality in virtue of which it puts us in touch with things as they are independently of the contributions of any mind of any type. -/- . (shrink)

This volume portrays the Polish or Lvov-Warsaw School, one of the most influential schools in analytic philosophy, which, as discussed in the thorough introduction, presented an alternative working picture of the unity of science.

Attempts to trace a unifying thread of ontological realism extending through 1. my early writings on Frege, Brentano, Husserl, Wittgenstein, Ingarden and (with Kevin Mulligan and Peter Simons) on truthmakers; 2. work on formal theories of the common-sense world, and on mereotopology, fiat objects, geographical categories, and environments (with David Mark, Roberto Casati, Achille Varzi), to 3. current work on applied ontology in biology and medicine, and on the theory of document acts and on the ontology of information artifacts.

Emmanuel Levinas’s doubts about the ethical value of artistic beauty have been widely acknowledged by the vast majority of Levinas’s commentators. However, though it is true that in “Reality and Its Shadow” Levinas persistently rebukes artistic beauty for its nonethicality, it is undeniable that he at least upholds the value of artistic criticism and modern literature. In this article I intend to relate Levinas’s exploration of the possibility of spiritual–ethical teaching in literature to Immanuel Kant’s reflections on the relation between (...) the feeling of beauty, that of sublimity, and sensible feeling in his third Critique. This up-close comparative examination fosters understanding of Levinas’s religious and philosophical approach to the sublime elements in some literary works, especially those of Fyodor Dostoevsky. (shrink)

Two major philosophical movements have sought to fundamentally rethink the relationship between humans and their environment(s): environmental ethics and enactivism. Surprisingly, they virtually never refer to or seek inspiration from each other. The goal of this analysis is to bridge the gap. Our main purpose, then, is to address, from the enactivist angle, the conceptual backbone of environmental ethics, namely the concept of intrinsic value. We argue that intrinsic value does indeed exist, yet its "intrinsicality" does not boil down to (...) being independent of the interests and needs of humans. Rather, it is brought forth by what we callshared enactionof an axiological domain. The latter is built upon such core posits of enactivism as autonomy, enaction, participatory sense-making as well as the most recent concept of loving as knowing proposed by Hanne De Jaegher. (shrink)

The authors examine several issues in teaching phenomenology (1) to advanced researchers who are doing qualitative research using phenomenological interview methods in disciplines such as psychology, nursing, or education, and (2) to advanced researchers in the cognitive neurosciences. In these contexts, the term “teaching” needs to be taken in a general and nondidactic way. In the case of the first group, it involves guiding doctoral students in their conception and design of a qualitative methodology that is properly phenomenological. In the (...) case of the second, it is more concerned with explaining the relevance of phenomenology to an audience of experimental scientists via conference presentations or published papers. In both cases, however, the challenge is to make clear to the relevant audience what phenomenology is and how it can relate to what they are doing. (shrink)

This is a comment to Graham Harman’s 2019 response to an article by Þóra Pétursdóttir and Bjørnar Olsen (2018) in which they propose that a materially grounded, archaeological perspective might complement Harman’s historical approach in Immaterialism (2016). Harman responds that his book is indeed already more archaeological than historical, stipulating that history is the study of media with a high density of information, whereas archaeology studies media with a low density of information. History, Harman holds, ends up in too much (...) detail, while archaeology has the advantage of lending itself to the imagination. Hence, his reading of history had the aim of tempering the historical information overload, in effect making the book a work of archaeology. In this comment, I want to do three things: (1) critique the idea that archaeological and historical media are inherently different with regard to their densities of information, (2) discuss how archaeology and history approach their media, and (3) reflect on conceptualisations of “archaeology” outside the discipline itself. (shrink)