1 Context The idea for the current issue of Philosophia Scientiæ emerged from discussions which took place in the Manchester Ethnomethodology Reading Group. This reading group has its origins in Wes Sharrock’s weekly discussion groups, which have taken place in Manchester (UK) since the early 1970s. As the global Covid-19 pandemic hit in early 2020, the reading group moved online, facilitated by Phil Hutchinson and Alex Holder. Being an online reading group opened up participation to people b...

In this paper, I want to argue for two main and related points. First, I want to defend Richard Wollheim’s well-known thesis that the twofold mental state of seeing-in is the distinctive pictorial experience that marks figurativity. Figurativity is what makes a representation pictorial, a depiction of its subject. Moreover, I want to show that insofar as it is a mark of figurativity, all seeing-in is inflected. That is to say, every mental state of seeing-in is such that the characterisation (...) of the properties by which a certain subject is seen in a given picture as having refers to the design properties of the picture’s vehicle, i.e., to the visible surface properties of that vehicle that are responsible for the fact that one such subject is seen in it, precisely taken in such a design role. Finally, I will try to show that seeing-in is qualified by inflection independently of whether it is conscious or unconscious seeing-in. (shrink)

In this paper, I first want to vindicate Wollheim’s idea that seeing-in, taken as the twofold phenomenologically sui generis experience which picture perception consists in, accounts for the phenomenon of perceptual constancy. Following Wollheim’s usage himself, by “perceptual constancy” I will mean a particular phenomenon of perceptual robustness, namely the fact that a picture’s subject is experienced as undistorted from any point of view in which a spectator may regard a picture. Moreover, I will properly take into consideration the specific (...) impression of “being followed” by the gaze of a picture’s subject in portraits (and alike pictures), which in these cases is a consequence of perceptual constancy. For this impression corroborates a particular reading of what the seeing-in experience really consists in. According to such a reading, in the configurational fold of that experience one experiences both the merely visible surface properties and the design properties of the picture’s vehicle, where such design properties also include the so-called grouping properties of the vehicle. On the basis of such a fold, moreover, in the recognitional fold of the seeing-in experience one knowingly illusorily sees the picture as its subject. (shrink)

Summary In this article the ethical systems of Risieri Frondizi and Maurice Mandelbaum, both decisively influenced by Wolfgang Köhler, are investigated for the first time. Each writer took different things from Köhler, Frondizi the idea of value as a Gestalt quality and Mandelbaum the idea of value as a felt demand. Their positions are highly complementary and Frondizi’s axiological approach enlightens the ontology of value whereas Mandelbaum’s phenomenological approach clarifies the nature of “requiredness” (Köhler) or “fittingness.”.

Summary The present article is a partly ontological, partly Gestalt-psychological discussion of the thinkability of structures in which parts and whole are interdependent (MI). In the first section, I show that in the framework of E. Husserl’s formal part–whole ontology, the conceptualization of such an interdependence leads to (mereo)logical problems. The second section turns to and affirms the experience of this interplay between parts and whole, exemplified with B. Pinna’s recent research on meaningful Gestalt perception. In the final section, I (...) take the experienceability of MI as a justification to suggest a way of rethinking it. This entails an implementation of the process of foregrounding and backgrounding displayed by reversible figures and originally described by E. Rubin. This can avoid both an identity relation between parts and whole and their mutual exclusion as well as hierarchization due to their apparent differences. It would also guarantee the inherent dynamics of interdependence. (shrink)

This is an introduction to a special issue on the history of phenomenal intentionality.

Roger Scruton's 530-page blockbuster The Aesthetics of Music was published by Oxford University Press in 1997. A paperback edition followed two years later. Neither received more than a handful of notices, a few appreciative, but some grudging and some actually hostile. As its quality has come to be recognized, and as the resentments it provoked have either died down or found newer targets, the book has gradually achieved a certain canonical, even classic, status. Students of the subject now seem to (...) feel that, however unpalatable some of its conclusions may have been, it can no longer safely be ignored. The questions, it appears, are the right ones, even if we don't care for Scruton's answers. (shrink)

How do we reconcile Husserl’s repeated criticism of Mach’s phenomenalism almost everywhere in his work with the leading role that Husserl seems to attribute to Mach in the genesis of his own phenomenology? To answer this question, we shall examine, first, the narrow relation that Husserl establishes between his phenomenological method and Mach’s descriptivism. Second, we shall examine two aspects of Husserl’s criticism of Mach: the first concerns phenomenalism and Mach’s doctrine of elements, while the second concerns the principle of (...) economy of thought, which Husserl closely associates with a form of psychologism in his Logical Investigations . Our working hypothesis is that the apparent contradictory comments of Husserl regarding Mach’s positivism can be partially explained by the double status he confers to his own phenomenology—as a philosophical program radically opposed to positivism, and as a method akin to Mach’s descriptivism. (shrink)

Jakob von Uexküll’s problematic is manifested in his paradoxical portraiture of form within the plan of nature: the one a sensual schema and the other a transsensual ideal form. At first sight, Uexküll’s belief in the Platonic and the Reformational notions of the immobile becoming of form seems to be a resignation from the heated debates among his contemporary materialists, vitalists, dynamists, and evolutionists. However, in terms of the Kantian subjective teleology, Uexküll’s appropriation of the ancient philosophy reinstates the invisible, (...) static, but repetitive cycle as his regulating principle in the observation of the activity of animals. This regulating principle distinguishes itself from the rule of resemblance established by the appearances and fossil remains of animals, which is linear, incomplete, and digressive. In the light of Michel Foucault, the transition from the visible to the invisible recoups the study of nature from the living beings (les êtres vivants) to the life itself (la vie), from natural philosophy to biology. My study suggests that we recast Uexküll’s sign theory from his observations on the crux that models and triggers an animal to action in its Umwelt. Bracketing Uexküll’s transcendental configuration of form and image, we still find that schema, in itssensual and functional context, evolves from a reflection of the objects to a summary of their features plus an ignorance of their proper names. Uexküll's erasure of proper names (in different languages) that directs our attention to the presentation in its pure form (Gestalt) not only constitutes an important step in epistemology, but also in a life science that meticulously delves into the genotypes. (shrink)

In this paper, I draw a parallel between aspects of René Thom’s topological program understood as semiophysics, and Jakob von Uexküll’s theory of meaning. Through the use of Thom’s semiophysics, I believe that it is possible to interpret Uexküll’s intuition that meaning unfolds a kind of transformation in an organism’s transactions with the environment: that is, meaning incorporates topological spaces. The central idea in question is that beyond the semantic, syntactical and pragmatic human use of language, meaning incorporates specific topologies (...) by expressing the spatial interaction between organism and environment. This is what I mean by René Thom’s reading of Jakob von Uexküll. (shrink)

Wilfrid Sellars’ “myth of the given” had a momentous influence on 20th-century epistemology, putting under pressure the internalist foundationalism so prominent in early analytic philosophy. In this paper, I argue that the core themes in Sellars’ argument are anticipated in the work of the London philosopher and psychologist Beatrice Edgell (1871-1948). Indeed, in some respects Edgell’s argument against the myth of the given is even more compelling than Sellars’. The paper logically reconstructs and historically contextualizes Edgell’s line of argument, as (...) emerging out of a critique of Russell’s epistemology, with the goal of showing that the “myth of the given” effectively predated Sellars by four decades. (shrink)

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

This paper addresses the project of philosophical autobiography, using two different perspectives. On the one hand, the societal, economic, and family contexts of William James are addressed, and connected a modern academic context of business ethics research, marketing and purchasing decision making, and the continuing financial crisis. The concepts of “stream of consciousness” and “acting as-if” are connected to recent literature on William James. On the other hand, the significance of family context, and the possible connection between the William James (...) family and the author, is addressed through shared family narratives interspersed throughout the paper. (shrink)

In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity -- its vehicle, what is seen in it, and its subject --, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to (...) be pictorially perceived, not even indirectly. So, even if a picture is three-layered, pictorial experience remains a twofold experience, as Wollheim claimed. Neither the proponents of threefoldness nor Wollheim himself, however, have convincingly explained how the experience really is a perceptual experience. My Wollheimian account thus aims to reconceive the pictorial experience in properly perceptual terms. (shrink)