Thomas Reid has a theory of consciousness that is central to his philosophy of mind but which raises a regress problem. I have two tasks in this paper. The first is to give an account of Reid's views on consciousness and the avoidance of the regress based on textual analysis. The second is to expand the theory of consciousness Reid gives to offer a deeper explanation of how the regress is avoided that is based on Reid's philosophy of mind but (...) goes beyond any text from Reid that I know. The distinction is important. Philosophers are inclined to attribute to a philosopher views that they have invented by studying the philosopher. Both textual analysis and invention based on a philosopher's writings are legitimate uses of the history of philosophy. When they are confused, however, arguments about what the philosopher held generate confusion. If you invent something from his or her philosophy, even something implied by it, that is your philosophy, not the philosopher's. The distinction is important for avoiding useless disputes. This first part of my paper is an attempt to remain true to the texts of Reid. The second part goes beyond the text, though it is what I extrapolate from Reid. (shrink)

I distinguish Nature from the World. I also distinguish development from evolution. Development is progressive change and can be modeled as part of Nature, using a specification hierarchy. I have proposed a ‘canonical developmental trajectory’ of dissipative structures with the stages defined thermodynamically and informationally. I consider some thermodynamic aspects of the Big Bang, leading to a proposal for reviving final cause. This model imposes a ‘hylozooic’ kind of interpretation upon Nature, as all emergent features at higher levels would have (...) been vaguely and episodically present primitively in the lower integrative levels, and were stabilized materially with the developmental emergence of new levels. The specification hierarchy’s form is that of a tree, with its trunk in its lowest level, and so this hierarchy is appropriate for modeling an expanding system like the Universe. It is consistent with this model of differentiation during Big Bang development to view emerging branch tips as having been entrained by multiple finalities because of the top-down integration of the various levels of organization by the higher levels. (shrink)

Hallucinatory pictures are yet to be found picture-like artifacts that induce a hallucination of their content that cannot be intuitively explained by a look at the structure of the pictorial vehicle. Different accounts of depiction make different predictions about the possibility that such artifacts be considered as pictures. Some cases are presented that point towards the intuitive acceptability of hallucinatory pictures.

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)

There are two distinct interpretations of the role that Feynman diagrams play in physics: (i) they are calculational devices, a type of notation designed to keep track of complicated mathematical expressions; and (ii) they are representational devices, a type of picture. I argue that Feynman diagrams not only have a calculational function but also represent: they are in some sense pictures. I defend my view through addressing two objections and in so doing I offer an account of representation that explains (...) why Feynman diagrams represent. The account that I advocate is a version of that defended by Kendall Walton, which provides us with a basic characterization of the way that representations in general work and is particularly useful for understanding distinctively pictorial representations - in Walton's terms, depictions. The question of the epistemic function of Feynman diagrams as pictorial representations is left for another time. (shrink)

Perhaps the most significant contemporary theory of lawhood is the Best System (/MRL) view on which laws are true generalizations that best systematize knowledge. Our question in this paper will be how best to formulate a theory of this kind. We’ll argue that an acceptable MRL should (i) avoid inter-system comparisons of simplicity, strength, and balance, (ii) make lawhood epistemically accessible, and (iii) allow for laws in the special sciences. Attention to these problems will bring into focus a useful menu (...) of novel MRL theories, some of which solve problems the original MRL theory could not. Hence we conceive of the paper as moving toward a better Best System theory of laws. (shrink)

There is a long-standing debate whether propositions, sentences, statements or utterances provide an answer to the question of what objects logical formulas stand for. Based on the traditional understanding of logic as a science of valid arguments, this question is firstly framed more exactly, making explicit that it calls not only for identifying some class of objects, but also for explaining their relationship to ordinary language utterances. It is then argued that there are strong arguments against the proposals commonly put (...) forward in the debate. The core of the problem is that an informative account of the objects formulas stand for presupposes a theory of formalization; that is, a theory that explains what formulas may adequately substitute for an inference in proofs of validity. Although such theories are still subject to research, some consequences can be drawn from an analysis of the reasons why the common accounts featuring sentences, propositions or utterances fail. Theories of formalization cannot refer to utterances qua expressions of propositions; instead they may refer to sentences and rely on additional information about linguistic structure and pragmatic context. (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.

Accounts of the relation between theories and models in biology concentrate on mathematical models. In this paper I consider the dual role of models as representations of natural systems and as a material basis for theorizing. In order to explicate the dual role, I develop the concept of a remnant model, a material entity made from parts of the natural system(s) under study. I present a case study of an important but neglected naturalist, Joseph Grinnell, to illustrate the extent to (...) which mundane practices in a museum setting constitute theorizing. I speculate that historical and sociological analyses of institutions can play a specific role in the philosophical analysis of model-building strategies. (shrink)

Molecular biologists and biochemists often use diagrams to present hypotheses. Analysis of diagrams shows that their content can be expressed with linguistic representations. Why do biologists use visual representations instead? One reason is simple comprehensibility: some diagrams present information which is readily understood from the diagram format, but which would not be comprehensible if the same information was expressed linguistically. But often diagrams are used even when concise, comprehensible linguistic alternatives are available. I explain this phenomenon by showing why diagrammatic (...) representation is especially well suited for a particular kind of explanation common in molecular biology and biochemistry: namely, functional analysis, in which a capacity of the system is explained in terms of capacities of its component parts. (shrink)

This article critically examines the contemporary resurgence of empiricism (or “neo-empiricism”) in philosophy, psychology, neuropsychology, and artificial intelligence. This resurgence is an important and positive development. It is the first time that this centuries-old empiricist approach to cognition is precisely formulated in the context of cognitive science and neuroscience. Moreover, neo-empiricists have made several findings that challenge amodal theories of concepts and higher cognition. It is argued, however, that the theoretical foundations of and the empirical evidence for neo-empiricism are not (...) as strong as is usually claimed by its proponents. The empirical evidence for and against neo-empiricism is discussed in detail. (shrink)

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)

I defend a theory of mental representation that satisfies naturalistic constraints. Briefly, we begin by distinguishing (i) what makes something a representation from (ii) given that a thing is a representation, what determines what it represents. Representations are states of biological organisms, so we should expect a unified theoretical framework for explaining both what it is to be a representation as well as what it is to be a heart or a kidney. I follow Millikan in explaining (i) in terms (...) of teleofunction, explicated in terms of natural selection. -/- To explain (ii), we begin by recognizing that representational states do not have content, that is, they are neither true nor false except insofar as they both “point to” or “refer” to something, as well as “say” something regarding whatever it is they are about. To distinguish veridical from false representations, there must be a way for these separate aspects to come apart; hence, we explain (ii) by providing independent theories of what I call f-reference and f-predication (the ‘f’ simply connotes ‘fundamental’, to distinguish these things from their natural language counterparts). -/- Causal theories of representation typically founder on error, or on what Fodor has called the disjunction problem. Resemblance or isomorphism theories typically founder on what I’ve called the non-uniqueness problem, which is that isomorphisms and resemblance are practically unconstrained and so representational content cannot be uniquely determined. These traditional problems provide the motivation for my theory, the structural preservation theory, as follows. F-reference, like reference, is a specific, asymmetric relation, as is causation. F-predication, like predication, is a non-specific relation, as predicates typically apply to many things, just as many relational systems can be isomorphic to any given relational system. Putting these observations together, a promising strategy is to explain f-reference via causal history and f-predication via something like isomorphism between relational systems. -/- This dissertation should be conceptualized as having three parts. After motivating and characterizing the problem in chapter 1, the first part is the negative project, where I review and critique Dretske’s, Fodor’s, and Millikan’s theories in chapters 2-4. Second, I construct my theory about the nature of representation in chapter 5 and defend it from objections in chapter 6. In chapters 7-8, which constitute the third and final part, I address the question of how representation is implemented in biological systems. In chapter 7 I argue that single-cell intracortical recordings taken from awake Macaque monkeys performing a cognitive task provide empirical evidence for structural preservation theory, and in chapter 8 I use the empirical results to illustrate, clarify, and refine the theory. (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..

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)

Visual space can be distinguished from physical space. The first is found in visual experience, while the second is defined independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non-Euclidean, and that it does not have a single metric structure. Here it is argued that visual space exhibits contraction in all three dimensions with increasing distance from the observer, that experienced features of this contraction are not the same as (...) would be the experience of a perspective projection onto a fronto-parallel plane, and that such contraction is consistent with size constancy. These properties of visual space are different from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal correspondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s. (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)

ABSTRACTDespite the huge interest in different philosophical questions surrounding literature, particularly analytic philosophers have had relatively little to say about literature’s specifically a...

ABSTRACTThis paper explores the role of exemplarity in education through a conceptualisation of two different dimensions of exemplarity in educational practice. Pedagogical exemplarity, which relates to the pedagogical and ethical dimension of educational practice. In other words, this dimension explores the educational moments when someone takes up an exemplary function in educational practice. Didactical exemplarity, which relates to the exemplary function of subject matter or educational content. In other words, this dimension explores the educational moments when something takes up an (...) exemplary function in educational practice. Through an initial conceptual exploration of these two dimensions, via the works of Linda Zagzebski and Martin Wagenschein, the paper sets out to lay the foundation for a deeper understanding of the role of exemplarity in education. (shrink)

The aim of this paper is to observe the evolution and evaluate the 'realness' and authenticity in Anatomy Art, an art form I define as one which incorporates accurate anatomical representations of the human body with artistic expression. I examine the art of 17th century wax anatomical models, the preservations of Frederik Ruysch, and Gunther von Hagens' Body Worlds plastinates, giving consideration to authenticity of both body and art. I give extra consideration to the works of Body Worlds since the (...) exhibit creator believes he has created anatomical specimens with more educational value and bodily authenticity than ever before. Ultimately, I argue that von Hagens fails to offer Anatomy Art 'real human bodies,' and that the lack of bodily authenticity of his plastinates results in his creations being less pedagogic than he claims. (shrink)

El objetivo de este artículo es proponer cuatro condiciones éticas para la regulación de la pornografía en un Estado con tendencia liberal democrática: las dos primeras se relacionan con la producción del material pornográfico, la tercera con el contenido de dicho material y la cuarta con su repercusión social. De acuerdo con ello, en primer lugar, se presenta una definición de pornografía que incluye las perspectivas de las feministas radicales y liberales. En segundo lugar, se desarrolla un marco normativo para (...) determinar cuándo un material pornográfico es éticamente permisible y cuándo no. Finalmente, se sugiere una recomendación en relación a lo que el Estado debería hacer en cada caso y se hace una distinción entre tres ámbitos: las condiciones bajo las cuales es producido el material pornográfico, el contenido de lo que representa o describe, y sus consecuencias sociales. Se concluye que el Estado no debería censurar todos los materiales pornográficos, como las feministas radicales insisten, sino sólo prohibir y castigar aquellos que no cumplan con las condiciones éticas que se proponen. (shrink)

My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...) recourse to symbol systems. Together, the twin principles of hypothetical verity and aspectival absolutism constitute a theory of realism able to account for realistic fictional entities, the problem of revelatory realism and images that teach new information. (shrink)

Conscious experience of the sensation of smell provides exemplars of the sensation exhibiting to us what it is like. These exemplars of experiences can become vehicles or terms of representation and meaning. I call this exemplar representation and the process exemplarization. The notion of exemplarization is indebted to Hume and Goodman. I modify the notion here to apply to the sensation of smell. Exemplar representation differs from verbal representation because the exemplar, like a sample, exhibits what the represented items smell (...) like, a perfume, a spice, or an animal. The exemplar represents the sensation and, at the same, represents external objects, my example is the spray of a skunk, by exhibiting what a skunk smells like. The exemplar is part of the meaning and conception of the external object. This solves the problem, as Reid insisted, of how experience of smell justifies perceptual belief in the existence of external objects. The meaning of thought and discourse about external objects is not exhausted by the exemplarization of the sensation of smell, but the exemplar becomes evidence of their existence as part of the meaning of what they smell like. The evidence and justification of the exemplar is fallible and defeasible. However, exemplar justification, when undefeated by error in the way it coheres with a background system, becomes knowledge of the external world. (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)

This study is a corpus analysis of nominal uses of ‘public’ as a reference to a group of humans, a category of reference that has animated the debate over membership in the body public among theorists of publicity and deliberative democracy. The study finds that the public metonym is the most common nominal use of ‘public’ as a reference to a group of humans in ordinary English. In addition, it presents a fine-grained analysis of the discourse features of the public (...) metonym based on the corpus results, finding that three features characterize the public metonym: definiteness, non-assignability, and anthropomorphism. It shows how these features are encoded by linguistic constructions, then extends the analysis by drawing attention to some basic contradictions among these three features. Finally, it shows how these contradictions can be accounted for by describing ‘public’ as metonymic. The paper draws together public sphere research, discourse studies, and rhetoric in order to describe the features of a central trope of civic identity. (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)

In this essay, I first consider a popular view of models and modeling, the similarity view. Second, I contend that arguments for it fail and it suffers from what I call “Hughes’ worry.” Third, I offer a deflationary approach to models and modeling that avoids Hughes’ worry and shows how scientific representations are of apiece with other types of representations. Finally, I consider an objection that the similarity view can deal with approximations better than the deflationary view and show that (...) this is not so. (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)

In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) is both ‘in’ and ‘beyond’ the image: the depicted subject haunts the image. Borrowing Richard Wollheim’s language, the aim of this study is to determine what it means for a consciousness to see a depicted-subject in an image-depiction, which happens on the basis of seeing an image-object in a material image-thing, like paint, canvas, ink, paper etc. Restricting myself to figurative images, I will argue against the view that the relation to the depicted subject is symbolic or signitive. I argue that the consciousness of the Sujet is quasi-perceptual, which allows for a better account of the depicted subject’s sense of absence. I develop this view on the basis of Husserl’s claims that the depicted subject is the bearer of norms inherent to intuitive appearances, which concern how the profiles and movements of an object ought to unfold, though they fail to do so for image-consciousness. This failure is not a mere privation for the image as a perceptual appearance but is inherent to its status as a mediated and artificial presence. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (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)

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.

Recent work in the philosophy of science has generated an apparent conflict between theories attempting to explicate the nature of scientific representation. On one side, there are what one might call 'informational' views, which emphasize objective relations (such as similarity, isomorphism, and homomorphism) between representations (theories, models, simulations, diagrams, etc.) and their target systems. On the other side, there are what one might call 'functional' views, which emphasize cognitive activities performed in connection with these targets, such as interpretation and inference. (...) The main sources of the impression of conflict here are arguments by some functionalists to the effect that informational theories are flawed: it is suggested that relations typically championed by informational theories are neither necessary nor sufficient for scientific representation, and that any theory excluding functions is inadequate. In this paper I critically examine these arguments, and contend that, as it turns out, informational and functional theories are importantly complementary. (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)

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)

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)

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)

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.