ABSTRACTThe ideological and methodological oppositions that divide philosophy generally into realisms and idealisms, objectivisms and subjectivisms, also pervade aesthetic theory. The question arises whether there was beauty in the world prior to the emergence of intelligent perceivers like ourselves, or whether beauty itself comes into existence only through the perceptual idiosyncrasies with which we happen to encounter the objects we happen to consider beautiful. The experience of beauty and its opposites under this description can easily seem to be an altogether (...) subjective phenomenon, available at most only to those psychological subjects conditioned or predisposed to recognize certain features as possessing specific aesthetic properties. The article examines topics related to the intentionality of expression in art. Intention is often rejected as a basis for aesthetic judgment. The present discussion, by focusing on the role of perception in art production and appreciation, considers ways of addressing those objections to restore an intuitive sense of the intentional expressiveness of art. The proposed solution also helps uphold an approach toward answering the question of whether aesthetic value generally is only subjective or also has a distinctively objective element. (shrink)

Intentionality may be dealt with in two different ways: either ontologically, as an ordinary relation to some extraordinary objects, or epistemologically, as an extraordinary relation to some ordinary objects. This paper endorses the epistemological view in order to provide a model of semiotic intentionality defined as the meaning-and-cognizing process that constitutes to power of the mind to be about something on the basis of a semiotic system. After a short introduction that presents the components of semiotic intentionality (viz. sign, act, (...) content, referent) along with their division into an intending and a fulfilling side (Sect. 1), the first main part of the paper analyzes semiotic intentionality at its primary level (a.k.a. 'concrete intentionality') as a real and subjective relation between meaning-intending and meaning-fulfilling acts grounded in the manipulation of some semiotic system (Sect. 2). Then, building on such concrete intentionality, the second main part of the paper analyzes semiotic intentionality at its secondary level (a.k.a. 'abstract intentionality') as an ideal and objective relation between intentional and fulfillment contents, which in turn: (i) proceed from an abstraction performed on the intending and fulfilling acts, respectively, and (ii) retroactively categorize the intending and fulfilling acts, respectively (Sect. 3). Finally, from this combination of an act-based conception of content with a presentationalist account of intentionality, the conclusion of this paper produces the intended model of semiotic intentionality in such a way that knowledge and truth are then respectively defined in it as the subjective correspondence between the two acts of concrete intentionality and as the objective correspondence between the two contents of abstract intentionality (Sect. 4). (shrink)

The possibilities are explored of considering nothing as the intended object of thoughts that are literally about the concept of nothing first, and thereby of nothing. Nothing, on the proposed analysis, turns out to be nothing other than the property of being an intendable object. There are propositions that look to be both true and to be about nothing in the sense of being about the concept and ultimate intended object of what is here formally defined and designated as N-nothing. (...) We have been thinking about it already in reading and understanding the meaning of this abstract. Nothing nothings, we shall assert in all seriousness and with a definite formally definable literal meaning. The concept of N-nothing in that sense is a concept with identity conditions like that of any entity, the difference being that the concept of N-nothing is a nonentity and nonexistent intended object. (shrink)