Empirical discussions of mental representation appeal to a wide variety of representational kinds. Some of these kinds, such as the sentential representations underlying language use and the pictorial representations of visual imagery, are thoroughly familiar to philosophers. Others have received almost no philosophical attention at all. Included in this latter category are analogue magnitude representations, which enable a wide range of organisms to primitively represent spatial, temporal, numerical, and related magnitudes. This article aims to introduce analogue magnitude representations to a (...) philosophical audience by rehearsing empirical evidence for their existence and analysing their format, their content, and the computations they support. 1 Background1.1 Evidence of analogue magnitude representations1.2 Weber’s law1.3 Scepticism about analogue magnitude representations2 Format2.1 Carey’s analogy2.2 Neural realization2.3 Analogue representation2.4 Analogue magnitude representation components3 Content3.1 Do analogue magnitude representations have representational content?3.2 What do analogue magnitude representations represent?3.3 What content types do analogue magnitude representations have?4 Computations4.1 Arithmetic computation4.2 Practical deliberation5 Conclusion. (shrink)

This paper follows directly from an earlier paper where we discussed the requirements for an artifact to be a moral agent and concluded that the artifactual question is ultimately a red herring. As...

The primary concern of our 2014 paper was not notation but the autographic/allographic distinction, not representations as such but works of art. As we see it, Zeimbekis's considerations do not ultimately undermine the position we advanced in 2014— but they do challenge an element of Goodman's own theory of notation that derives from his requirement of recoverability. That requirement can be abandoned without losing the explanatory power of the autographic/allographic distinction as we have refined it.

This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...) will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation. (shrink)

Despite its internal divisions and the uncertainty surrounding many of its foundations, there is a growing consensus that the on‐going search for an alternative model of the mind finds a minimal theoretical identity in the pursuit of an anti‐Cartesian conception of mental phenomena. Nevertheless, this anti‐Cartesianism remains more or less explicitly committed to the neo‐Brentanian idea that intentionality is an essential feature of the mental—an idea that has prevailed since the advent of modern cognitive science in the 1950s. An issue (...) of compatibility is thereby raised, as neo‐Brentanism arguably sides with cognitive Cartesianism. The main goal of the paper is to put into full light one specific aspect of this largely unperceived problem of compatibility by arguing that the neo‐Brentanian property of intentionality is an essentially representational one that runs counter to the salient anti‐representationalism of anti‐Cartesianism. And, that this representational essence confronts the search for alternative models of the mind of an anti‐Cartesian kind with the following theoretical issue: To what extent is it possible to devise a non‐Brentanian property of intentionality, particularly one that is fully dissociated from the property of representation? This issue is shown to be much deeper and more difficult than it looks once the nature of representation is properly apprehended; it seems to be still waiting for an answer in the current search for an alternative model of the mind, if only because it has not yet be set in fully adequate terms. (shrink)

In this paper I show how certain requirements must be set on any tenable account of scientific representation, such as the requirement allowing for misrepresentation. I then continue to argue that two leading accounts of scientific representation— the inferential account and the interpretational account—are flawed for they do not satisfy such requirements. Through such criticism, and drawing on an analogy from non-scientific representation, I also sketch the outline of a superior account. In particular, I propose to take epistemic representations to (...) be intentional objects that come with reference, semantic contents and a representational code, and I identify faithful representations as representations that act as guides to ontology. (shrink)

The ontology of recipes is by and large unexplored. In this paper, I offer a three-steps account. After introducing some key terminology, I distinguish four main options for a theory of recipes: realism, constructivism, existentialism, and the naïve approach. Hence, I first argue that recipes are social entities whose identity depends on a process of identification, typically performed by means of a performative utterance on the part of a cook ; thus, the best theoretical framework for a theory of recipes (...) is a constructivist. Secondly, I argue that the identity of recipes can be grasped only by being suitably acquainted with the dishes that instantiate them, because of the impossibility to spell out recipes in details that would match a full-fledged dish; hence, the authority to establish the identity of a recipe rests on a process of apprenticeship. Finally, I argue that the identity of recipes and—vicariously—of the dishes that instantiate them, rest on three factors: the expertise required on the part of the cook; authenticity ; and the open-ended character of recipes. (shrink)

Scientific practices have been changed by the increasing use of computer simulations. A central question for philosophers is how to characterize computer simulations. In this paper, we address this question by analyzing simulations in biochemistry. We propose that simulations have been used in biochemistry long before computers arrived. Simulation can be described as a surrogate relationship between models. Moreover, a simulative aspect is implicit in the classical dichotomy between in vivo–in vitro conditions. Based on a discussion about how to characterize (...) a simulative aspect in this dichotomy, we will argue that an adequate understanding of computer simulations in biochemistry requires a previous understanding of simulations in experimental contexts. (shrink)

An interesting feature of some sets of representations is that their structure mirrors the structure of the items they represent. Founding an account of representational content on isomorphism, homomorphism or structural resemblance has proven elusive, however, largely because these relations are too liberal when the candidate structure over representational vehicles is unconstrained. Furthermore, in many cases where there is a clear isomorphism, it is not relied on in the way the representations are used. That points to a potential resolution: that (...) an isomorphism must be used, hence usable, if it is to be an ingredient in a theory of content. This paper argues that the class of exploitable isomorphisms can indeed play a content-constituting role. (shrink)

ArgumentDrawing and writing number among the most widespread scientific practices of representation. Neither photography, graphic recording apparatuses, typewriters, nor digital word- and image-processing ever completely replaced drawing and writing by hand. The interaction of hand, paper, and pen indeed involves much more than simply recording or visualizing what was previously thought, observed, or imagined. Both writing and drawing have the power to translate concepts and observations into two-dimensional, manageable, reproducible objects. They help to develop research questions and they open up (...) an interaction between the gathering of phenomena and the formation of theses. Related to the manifold studies of representational activities in the sciences and the humanities, this topical issue tries to refine our understanding of the capacities of drawing and writing as research techniques; i.e. as productive epistemic practices. In particular the contributions address three aspects: the material conditions and configurations of the “scene of drawing and writing,” the involved procedures of production, and the languages of inscription. (shrink)

The paper is a commentary on the target article by Christine A. Skarda & Walter J. Freeman, “How brains make chaos in order to make sense of the world”, in the same issue of the journal, pp.161–195. -/- I confine my comments largely to some philosophical claims that Skarda & Freeman make and to the relationship of their model to connectionism. Some of the comments hinge on what symbols are and how they might sit in neural systems.

A recent and growing discussion in philosophy addresses the construction of models and their use in scientific reasoning by comparison with fiction. This comparison helps to explore the problem of mediated observation and, hence, the lack of an unambiguous reference of representations. Examining the usefulness of the concept of fiction for a comparison with non-denoting elements in science, the aim of this paper is to present reasonable grounds for drawing a distinction between these two kinds of representation. In particular, my (...) account will suggest a demarcation between fictional and non-fictional discourse as involving two different ways of interpreting representations. This demarcation, leading me to distinguish between fictional and non-fictional forms of enquiry, will provide a useful tool to explore to what extent the descriptions given by a model can be justified as making claims about the world and to what degree they are a consequence of the model’s particular construction. (shrink)

Work on analogy has been done from a number of disciplinary perspectives throughout the history of Western thought. This work is a multidisciplinary guide to theorizing about analogy. It contains 1,406 references, primarily to journal articles and monographs, and primarily to English language material. classical through to contemporary sources are included. The work is classified into eight different sections (with a number of subsections). A brief introduction to each section is provided. Keywords and key expressions of importance to research on (...) analogy are discussed in the introductory material. Electronic resources for conducting research on analogy are listed as well. (shrink)

Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental images (...) are structural moments of imaging and imagining. Any attempt to clarify the structure and conditions for the possibility of aesthetic experience must first provide an unambiguous account of pictorial depiction—a task unattainable through the mental images discourse. Similarly, exposing the import of the imagination for theoretical scientific inquiries (be they positive or eidetic) requires an initial explication of the structure of this consciousness; this explication, however, must address our ability to imagine non-spatially determined objects—something the conceptual framework of mental images utterly fails to accomplish. In this paper I argue against Husserl’s reliance on mental images in his phenomenological analyses of imaging and imagining and propose an alternative structural account for both. This account is free of this reliance and able to steer clear of its insidious implications for epistemology, aesthetics, and methodological reflections. By closely following the development of Husserl’s account I suggest alternative descriptions while building on Husserl’s important work. (shrink)

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...) that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

Enhancement technologies may someday grant us capacities far beyond what we now consider humanly possible. Nick Bostrom and Anders Sandberg suggest that we might survive the deaths of our physical bodies by living as computer emulations.­­ In 2008, they issued a report, or “roadmap,” from a conference where experts in all relevant fields collaborated to determine the path to “whole brain emulation.” Advancing this technology could also aid philosophical research. Their “roadmap” defends certain philosophical assumptions required for this technology’s success, (...) so by determining the reasons why it succeeds or fails, we can obtain empirical data for philosophical debates regarding our mind and selfhood. The scope ranges widely, so I merely survey some possibilities, namely, I argue that this technology could help us determine (1) if the mind is an emergent phenomenon, (2) if analog technology is necessary for brain emulation, and (3) if neural randomness is so wild that a complete emulation is impossible. (shrink)

Sellars (1963) distinguished in Empiricism and Philosophy of Mind between ordinary discourse, which expressed his “manifest image”, and scientific discourse, which articulated his “scientific image” of man-in-the-world in a way that is both central and problematic to the rest of his philosophy. Our contention is that the problematic feature of the distinction results from Sellars theory of inner episodes as theoretical entities. On the other hand, as Sellars attempted to account for our noninferential knowledge of such states, particularly in correspondence (...) with Castañeda, discussed by Lehrer and Stern (2000), he is lead to account of representation of such states that incorporates the states into what Lehrer has called exemplar representation (2004, 2011a) and Ismael reflexive self-description (2007). What is common to the three accounts, with some differences, is that such states may be function reflexively in selfrepresentation. Our argument is that the elaboration of this account, suggested in Sellars, shows how the discourse of the manifest image can be transformed into the discourse of the scientific image as self-representations of scientific entities. (shrink)

The author argues for three interconnected theses which provide a cognitive account for why humans intuitively believe that others survive death. The first thesis, from which the second and third theses follow, is that the acceptance of afterlife beliefs is predisposed by a specific, and already well-documented, imaginative process - the offline social reasoning process. The second thesis is that afterlife beliefs are social in nature. The third thesis is that the living imagine the deceased as socially embodied in such (...) a way as to continue to fulfill on-going social obligations with others. The author further suggests six reasons why the fantasy/reality distinction breaks down for the imaginer such that the continued existence of the decedent in the afterlife is believed to be real. Finally, the author suggests avenues for further research which would support this cognitive account. (shrink)

Ce Livre de P. Ricoeur constitue, en fait, comme son titre l'indique une prise de position contre ceux qui, à l'instar de J. Derrida, font des concepts philosophiques des métaphores mortes, abolissant ainsi la spécificité du discours philosophique. Á la métaphore morte, «celle qui ne se dit pas, mais qui se dissimule dans la «releve» du concept qui se dit», P. Ricoeur oppose la metaphore vive qu'il définit ainsi: «La métaphore n'est pas vive seulement en ce qu'elle vivifie un langage (...) constitué. La métaphore est vive en ce qu'elle inscrit l'élan de l'imagination dans un « penser plus » au niveau du concept. » Les positions sont done claires: d'un côté, la métaphore morte qui dissout le discours philosophique, et de 1'autre, la métaphore vive qui en constitue le fondement dynamique. (shrink)

Scientific representation is a currently booming topic, both in analytical philosophy and in history and philosophy of science. The analytical inquiry attempts to come to terms with the relation between theory and world; while historians and philosophers of science aim to develop an account of the practice of model building in the sciences. This article provides a review of recent work within both traditions, and ultimately argues for a practice-based account of the means employed by scientists to effectively achieve representation (...) in the modelling sciences. (shrink)

The paper argues that digital ontology (the ultimate nature of reality is digital, and the universe is a computational system equivalent to a Turing Machine) should be carefully distinguished from informational ontology (the ultimate nature of reality is structural), in order to abandon the former and retain only the latter as a promising line of research. Digital vs. analogue is a Boolean dichotomy typical of our computational paradigm, but digital and analogue are only “modes of presentation” of Being (to paraphrase (...) Kant), that is, ways in which reality is experienced or conceptualised by an epistemic agent at a given level of abstraction. A preferable alternative is provided by an informational approach to structural realism, according to which knowledge of the world is knowledge of its structures. The most reasonable ontological commitment turns out to be in favour of an interpretation of reality as the totality of structures dynamically interacting with each other. The paper is the first part (the pars destruens) of a two-part piece of research. The pars construens, entitled “A Defence of Informational Structural Realism”, is developed in a separate article, also published in this journal. (shrink)

Most of us create and use a panoply of non-sentential representations throughout our ordinary lives: we regularly use maps to navigate, charts to keep track of complex patterns of data, and diagrams to visualize logical and causal relations among states of affairs. But philosophers typically pay little attention to such representations, focusing almost exclusively on language instead. In particular, when theorizing about the mind, many philosophers assume that there is a very tight mapping between language and thought. Some analyze utterances (...) as the outer vocalizations of inner thoughts (e.g. Grice 1957, Devitt 2005), while others treat thought as a form of inner speech (e.g. Sellars 1956/1997, Carruthers 2002). But even philosophers who take no stand on the relative priority of language and thought still tend to individuate mental states in terms of the sentences we use to ascribe them. Indeed, Dummett (1993) claims that it is constitutive of analytic philosophy that it approaches the mind by way of language. In many ways, this linguistic model is salutary. Our thoughts are often intimately intertwined with their linguistic expression, and public language does provide a comparatively tractable proxy for, and a window into, the messier realm of thought. However, an exclusive focus on thought as it is expressed in language threatens to leave other sorts of thought unexplained, or even to blind us to their possibility. In particular, many cognitive ethologists and psychologists find it useful to talk about humans, chimpanzees, birds, rats, and even bees as employing cognitive maps. We need to make sense of this way of talking about minds as well as more familiar sentential descriptions. In what follows, I investigate the theoretical and practical possibility of non-sentential thought. Ultimately, I am most interested in the contours of distinctively human thought: what forms does human thought take, and how do those different forms interact? How does human thought compare with that of other animals? In this essay, however, I focus on a narrower and more basic theoretical question: could thought occur in maps? Many philosophers are convinced that in some important sense, thought per se must be language-like.. (shrink)

By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

Philosophers have often adopted a dismissive attitude toward metaphor. Hobbes (1651, ch. 8) advocated excluding metaphors from rational discourse because they “openly profess deceit,” while Locke (1690, Bk. 3, ch. 10) claimed that figurative uses of language serve only “to insinuate wrong ideas, move the passions, and thereby mislead the judgment; and so indeed are perfect cheats.” Later, logical positivists like Ayer and Carnap assumed that because metaphors like..

Cognitive science uses the notion of computational information processing to explain cognitive information processing. Some philosophers have argued that anything can be described as doing computational information processing; if so, it is a vacuous notion for explanatory purposes.An attempt is made to explicate the notions of cognitive information processing and computational information processing and to specify the relationship between them. It is demonstrated that the resulting notion of computational information processing can only be realized in a restrictive class of dynamical (...) systems called physical notational systems (after Goodman's theory of notationality), and that the systems generally appealed to by cognitive science-physical symbol systems-are indeed such systems. Furthermore, it turns out that other alternative conceptions of computational information processing, Fodor's (1975) Language of Thought and Cummins' (1989) Interpretational Semantics appeal to substantially the same restrictive class of systems. (shrink)

It has been argued that neural networks and other forms of analog computation may transcend the limits of Turing-machine computation; proofs have been offered on both sides, subject to differing assumptions. In this article I argue that the important comparisons between the two models of computation are not so much mathematical as epistemological. The Turing-machine model makes assumptions about information representation and processing that are badly matched to the realities of natural computation (information representation and processing in or inspired by (...) natural systems). This points to the need for new models of computation addressing issues orthogonal to those that have occupied the traditional theory of computation. (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness motivates a view (...) of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts (cf. list of secondary literature in the entry “Goodman’s Aesthetics” of Stanford Encyclopedia of Philosophy and Sect. 3 below). Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject. While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral tools. (...) One such technical notion is that of the density of symbol systems. This serves to distinguish linguistic symbols from pictorial representations (after Goodman entirely rejected resemblance in that role) and is a crucial part of Goodman’s explanation of what constitutes aesthetic experience (and so indirectly what is art). Thus its significance for Goodman’s theory is fundamental. The aim of this paper is a detailed, logical analysis of this notion. It turns out that Goodman’s definition is highly problematic and cannot be applied to symbol systems in the way Goodman envisaged. To conclude, Goodman’s theory is problematic not just because of its controversial theses but also because of logical problems with the technical notions used at its very core. Hence the controversial claims are not simply contestable, but inaccurately expressed. (shrink)

This article reconstructs R. S. Peters' underlying theory of ritual in education, highlighting his proposed link between ritual and the imitation of teachers. Rituals set the stage for the imitation of teachers and they invite students to experience practices whose value is not easily discernable from the outside. For Peters, rituals facilitate the transmission of values across time, create unity in schools, and affirm authority relations. There is a tension, however, between this view of ritual and imitation, on the one (...) hand, and Peters' views of liberal education and the ‘criteria of an educational process’, on the other. This article suggests how the processes of ritual and imitation can be reconciled with liberal education, and it identifies school rampage shootings as an area in which Peters' work on ritual might prove useful. (shrink)

In his famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin tells us that in his time art became valued for its exhibition value instead of what he refers to as its secularised ritual or cult value. This essay makes this bold claim plausible by arguing that it means that a historicising gaze no longer has a function in the reception of art. Although this argument is supported by Benjamin’s use of the concepts of (...) authenticity and aura, it is somehow missed by Benjamin’s many readers. His essay, as it turns out, presents an end of history thesis, which foreshadows the condition of the image in contemporary media. (shrink)

The article takes Cornelius Castoriadis’ concept of the ‘political imaginary’ as an invitation to reflect on the role of pictures in politics and in facilitating alternative policies. For this purpose, pictures are not understood as merely rhetorical or propagandistic representations of political statements, which are actually to be thought of independently of the particular picture. Instead, by means of their specific pictorial qualities, pictures also influence the ways politics are negotiated or pursued and, moreover, they can stimulate alternative forms of (...) political thinking. In order to argue for this understanding of the politics of pictures, the article proceeds in three steps: a brief review of the research on political iconography is followed by thoughts on Jacques Rancière and his concept of the ‘distribution of the sensible’. On this basis, an understanding of pictorial politics is finally sketched that asks for genuinely political potentials that are directly linked to the specific qualities of the image: its duality, its vagueness, and its temporality. (shrink)

While all agree that score compliance in performance is valuable, the source of this value is unclear. Questions about what authenticity requires crowd out questions about our reasons to be compliant in the first place, perhaps because they seem trivial or uninteresting. I argue that such reasons cannot be understood as ordinary aesthetic, instrumental, epistemic, or moral reasons. Instead, we treat considerations of score compliance as having a kind of final value, one which requires further explanation. Taking as a model (...) the Humean account of fidelity as an artificial virtue, I sketch a practice-theoretic account of the nature and source of such reasons, one on which we can say that they are, after all, aesthetic, but only indirectly so. (shrink)

Perceptual systems respond to proximal stimuli by forming mental representations of distal stimuli. A central goal for the philosophy of perception is to characterize the representations delivered by perceptual systems. It may be that all perceptual representations are in some way proprietarily perceptual and differ from the representational format of thought (Dretske 1981; Carey 2009; Burge 2010; Block ms.). Or it may instead be that perception and cognition always trade in the same code (Prinz 2002; Pylyshyn 2003). This paper rejects (...) both approaches in favor of perceptual pluralism, the thesis that perception delivers a multiplicity of representational formats, some proprietary and some shared with cognition. The argument for perceptual pluralism marshals a wide array of empirical evidence in favor of iconic (i.e., image-like, analog) representations in perception as well as discursive (i.e., language-like, digital) perceptual object representations. (shrink)

The aim of this article is to provide a plausible conceptual model of a specific use of images described as substitution in recent art-historical literature. I bring to light the largely implicit shared commitments of the art historians’ discussion of substitution, each working as they do in a different idiom, and I draw consequences from these commitments for the concept of substitution by image—the major being the distinction between nonportraying substitution and substitution by portrayal. I then develop an argument that (...) substitution by image in the desired, nonportraying sense needs to be thought of in terms of a figurative representation of an image’s subject as a generic object, what I will call its figurative instantiation. (shrink)

What is the role of the environment, and of the information it provides, in cognition? More specifically, may there be a role for certain artefacts to play in this context? These are questions that motivate "4E" theories of cognition (as being embodied, embedded, extended, enactive). In his take on that family of views, Hajo Greif first defends and refines a concept of information as primarily natural, environmentally embedded in character, which had been eclipsed by information-processing views of cognition. He continues (...) with an inquiry into the cognitive bearing of some artefacts that are sometimes referred to as 'intelligent environments'. Without necessarily having much to do with Artificial Intelligence, such artefacts may ultimately modify our informational environments. -/- With respect to human cognition, the most notable effect of digital computers is not that they might be able, or become able, to think but that they alter the way we perceive, think and act. (shrink)

This paper reflects on the problems of cross-cultural interpretations and translations analysing how these are rooted in theories and philosophical assumptions. Inquiring the concept of philosophy per se, the paper discusses key passages of Heidegger and the related problem of 有 (you) and 無 (wu). The conclusion is that to translate such terms, it is necessary to revise the coercive onto-theological assumptions of metaphysics. This can trigger a process of re-grounding grounds with the consequent possibility of language transformation, which, in (...) turn, activates new relations between cultural diversities. Thus, philosophy itself becomes an eminently comparative dialogue between cultures. Without setting a single method for all these problems, the paper argues that comparisons themselves call for necessarily different methodological approaches. Hence, whilst Daoism helps to illuminate these issues defining one of the possibilities that a philosophy of comparisons entails, this same reasoning opens a way for another reading of the Daodejing. (shrink)

This paper argues that many so-called digital technologies can be construed as notational technologies, explored through the example of Monegraph, an art and digital asset management platform built on top of the blockchain system originally developed for the cryptocurrency bitcoin. As the paper characterizes it, a notational technology is the performance of syntactic notation within a field of reference, a technologized version of what Nelson Goodman called a “notational system.” Notational technologies produce abstracted entities through positive and reliable, or constitutive, (...) tests of socially acceptable meaning. Accordingly, this account deviates from typical narratives of blockchains, instead demonstrating that blockchain technologies are effective at managing digital assets because they produce abstracted identities through the performance of notation. Since notational technologies rely on configurations of socially acceptable meaning, this paper also provides a philosophical account of how blockchain technologies are socially embedded. (shrink)

While many recent accounts of scientific representation have given a central role to the agency and intentions of scientists in explaining representation, they have left these agential concepts unanalyzed. An account of scientific, representational actions will be a useful piece in offering a more complete account of the practice of representation in science. Drawing on an Anscombean approach to the nature of intentional actions, the Means-End Account of Scientific, Representational Actions describes three features of scientific, representational actions: the final description (...) in the means-end ordering of descriptions is some scientific aim; that interaction with a vehicle distinct from its target stands as an earlier description which is ordered toward the final description as means to end; and the means-end structure is licensed by scientific practice. After describing each of the components of the Means-End Account in greater detail through the example of the representational use of a mathematical model, I explain how it can demarcate scientific, representational actions from other sorts of actions. I close by describing some payoffs of the account, showing how it contributes to a more thorough understanding of the practice of representation in science and how it can be of use in understanding the close connection between representation and other forms of scientific activity. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

This essay explores Edmund Husserl's significance for contemporary truth theory. Focusing on his Logical Investigations, it argues that early Husserl's conception of truth unsettles a common polarity between epistemic and nonepistemic approaches. Unlike contemporary epistemic conceptions of truth, he gives full weight to “truth makers” that have their own being: objective identity, perceptible objects, and states of affairs. Yet, unlike contemporary nonepistemic conceptions, he also insists on the intentional givenness of such truth makers and on the complexity of the experiences (...) within which propositional truth claims arise. To develop this argument, the essay explains how early Husserl's conception of truth builds on his phenomenology of intentional experience and knowledge. By emphasizing an objective identity between what is signitively meant and intuitively given, Husserl's approach provides a way to resituate propositional truth within a broader and more dynamic conception of truth. (shrink)

A shorthand symbolism for the relational mapping of categories is introduced and developed on the basis of Nelson Goodman's structural methodology. Through a reconstruction of extensional isomorphism that Goodman introduces as a criterion for definitional accuracy, and a brief reminder of the argument structure behind his ‘new riddle of induction’, Goodman's radical ontological relativism is turned into a protological principle of what I call ‘domain constituting philosophy’. MSS is demonstrated with reference to Goodman's symbol theory, particularly his notion of exemplification, (...) as well as in a final structured comparison of Frege's ‘sense’ with Goodman's straightforward construction of ‘secondary extension’. (shrink)

Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)