‘There is no place in the phenomenology of fully absorbed coping’, writes Hubert Dreyfus, ‘for mindfulness. In flow, as Sartre sees, there are only attractive and repulsive forces drawing appropriate activity out of an active body’1. Among the many ways in which history animates dynamical systems at a range of distinctive timescales, the phenomena of embodied human habit, skilful movement, and absorbed coping are among the most pervasive and mundane, and the most philosophically puzzling. In this essay we examine both (...) habitual and skilled movement, sketching the outlines of a multidimensional framework within which the many differences across distinctive cases and domains might be fruitfully understood. Both the range of movement phenomena which can plausibly be seen as instances of habit or skill, and the space of possible theories of such phenomena are richer and more disparate than philosophy easily encompasses. We seek to bring phenomenology into contact with relevant movements in psychological theories of skilful action, in the belief that phenomenological philosophy and cognitive science can be allies rather than antagonists. (shrink)

The paper begins by reviewing two problems for fallibilism: the lottery problem, or the problem of explaining why fallible evidence, though otherwise excellent, is not enough to know that one will lose the lottery, and Gettier problems. It is then argued that both problems can be resolved if we note an important illocutionary force of knowledge attributions: namely, that when we attribute knowledge to someone we mean to give the person credit for getting things right. Alternatively, to say that a (...) person knows is to say that she got things right due to her own abilities, efforts and actions, rather than due to dumb luck, or blind chance, or something else. (shrink)

We address the question of whether it is possible to operate a time machine by manipulating matter and energy so as to manufacture closed timelike curves. This question has received a great deal of attention in the physics literature, with attempts to prove no- go theorems based on classical general relativity and various hybrid theories serving as steps along the way towards quantum gravity. Despite the effort put into these no-go theorems, there is no widely accepted definition of a time (...) machine. We explain the conundrum that must be faced in providing a satisfactory definition and propose a resolution. Roughly, we require that all extensions of the time machine region contain closed timelike curves; the actions of the time machine operator are then sufficiently "potent" to guarantee that closed timelike curves appear. We then review no-go theorems based on classical general relativity, semi-classical quantum gravity, quantum field theory on curved spacetime, and Euclidean quantum gravity. Our verdict on the question of our title is that no result of sufficient generality to underwrite a confident "yes" has been proven. Our review of the no-go results does, however, highlight several foundational problems at the intersection of general relativity and quantum physics that lend substance to the search for an answer. (shrink)

In the present article we attempt to show that Aristotle's syllogistic is an underlying logiC which includes a natural deductive system and that it isn't an axiomatic theory as had previously been thought. We construct a mathematical model which reflects certain structural aspects of Aristotle's logic. We examine the relation of the model to the system of logic envisaged in scattered parts of Prior and Posterior Analytics. Our interpretation restores Aristotle's reputation as a logician of consummate imagination and skill. Several (...) attributions of shortcomings and logical errors to Aristotle are shown to be without merit. Aristotle's logic is found to be self-sufficient in several senses: his theory of deduction is logically sound in every detail. (His indirect deductions have been criticized, but incorrectly on our account.) Aristotle's logic presupposes no other logical concepts, not even those of propositional logic. The Aristotelian system is seen to be complete in the sense that every valid argument expressible in his system admits of a deduction within his deductive system: every semantically valid argument is deducible. (shrink)

In this paper I refute the chief arguments for cultural relativism, meaning the moral (not the descriptive) theory that goes by that name. In doing this I walk some oft-trodden paths, but I also break new ones. For instance, I take unusual pains to produce an adequate formulation of cultural relativism, and I distinguish that thesis from the relativism of present-day anthropologists, with which it is often conflated. In addition, I address not one or two, but eleven arguments for cultural (...) relativism, many of which contribute to its popularity but receive scant attention from its critics. To elicit the failings of these arguments I deploy a host of pertinent but often neglected distinctions. (shrink)

In De Anima II 5, 417a21-b16, Aristotle makes a number of distinctions between types of transitions, affections, and alterations. The objective of this paper is to sort out the relationships between these distinctions by means of determining which of the distinguished types of change can be coextensive and which cannot, and which can overlap and which cannot. From the results of this analysis, an interpretation of 417a21-b16 is then constructed that differs from previous interpretations in certain important respects, chief among (...) which is its characterization of transitions from first potentiality to first actuality, e.g., learning, not as `ordinary', but rather as acquisitions of natural dispositions or faculties. (shrink)

It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions play for (...) Aristotle, which further distinguishes him from the other two theories we have mentioned. (shrink)

Bowin begins with an apparent paradox about Aristotelian infinity: Aristotle clearly says that infinity exists only potentially and not actually. However, Aristotle appears to say two different things about the nature of that potential existence. On the one hand, he seems to say that the potentiality is like that of a process that might occur but isn't right now. Aristotle uses the Olympics as an example: they might be occurring, but they aren't just now. On the other hand, Aristotle says (...) that infinity "exists in actuality as a process that is now occurring" (234). Bowin makes clear that Aristotle doesn't explicitly solve this problem, so we are left to work out the best reading we can. His proposed solution is that "infinity must be...a per se accident...of number and magnitude" (250). (Bryn Mawr Classical Review 2008.07.47). (shrink)

In this paper, I explore a possible convergence between two great twentieth century thinkers, Nishida Kitarō of Japan and Martin Heidegger of Germany. The focus is on the quasi-religious language they employ in discussing the grounding of human existence in terms of an encompassing Wherein for our being. Heidegger speaks of “the sacred” and “the passing of the last god” that mark an empty clearing wherein all metaphysical absolutes or gods have withdrawn but are simultaneously indicative of an opening wherein (...) beings are given. Nishida speaks of “the religious” dimension in the depths of one's being, that he calls “place,” and that somehow envelops the world through its kenotic self-negation. In both we find reference to a kind of originary space—the open or place—associated with quasireligious themes. I also point to their distinct approaches to metaphysical language in their attempts to give voice to that abysmal thought. (shrink)

We show that someone who believes in both gunk and the possibility of supertasks has to give up either a plausible principle about where gunk can be located, or plausible conservation principles.

In his contribution to the first issue of Memory Studies, Jeffrey Olick notes that despite “the mutual affirmations of psychologists who want more emphasis on the social and sociologists who want more emphasis on the cognitive”, in fact “actual crossdisciplinary research … has been much rarer than affirmations about its necessity and desirability” (2008: 27). The peculiar, contingent disciplinary divisions which structure our academic institutions create and enable many powerful intellectual cultures: but memory researchers are unusually aware that uneasy faultlines (...) and glaring gulfs lie in the uncertain zones between them. The processes of memory are simultaneously natural and cultural. But our difficulties in imagining even fragments of a genuinely integrated framework for understanding diverse memory-related phenomena do not arise from a simple ‘two-cultures’ problem: it’s not as if there are substantially unified visions of memory within either ‘the sciences’ or ‘the humanities’. (shrink)

The topic of this essay is “the slingshot,” a short argument that purports to show that sentences1 designate (stand for, refer to) truth values. Versions of this argument have been used by Frege 2, Church 3, Quine4 and Davidson5; thus it is historically important, even if it immediately strikes one as fishy. The argument turns on two principles, which I call substitution and redistribution. In “Semantic Innocence and Uncompromising Situations,”6 Jon Barwise and I rejected both principles, as part of our (...) attempt.. (shrink)

This paper defends Aristotle’s project of deriving the order of time from the order of change in Physics 4.11, against the objection that it contains a vicious circularity arising from the assumption that we cannot specify the direction of a change without invoking the temporal relations of its stages. It considers and rejects a solution to this objection proposed by Ursula Coope, and proposes an alternative solution. It also considers the related problem of how the temporal orders and directions derived (...) from individual changes can together constitute a single, globally consistent order and direction of time. (shrink)

The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...) the same work of art. My view will be that an artwork (such as a painting) and its associated artefact are not identical, and nor is the artefact in any sense part of the painting in question,2 but that nevertheless it is still possible to maintain the view that paintings are autographic (which view I shall call l the autographic thesis). I shall proceed initially through presentation of some counter-examples to common assumptions as to the relations of artefacts and artworks, and then present an alternative 'representational' theory of their relations. (shrink)

The general area of business and professional ethics is full of vexing and confusing problems. For example, questions concerning the im portance of ethical standards, whether ethics is unnecessary given appropriate legal enforcement, whether it is imperative to teach ethical behavior in professional education, and similar questions are all controversial. The specific ethical problems to be found in the areas of accounting and finance are at least as difficult as those in other areas. However, there is one kind of ethical (...) problem which is unusually prominent in finance and accounting, which deserves to be recognized more widely in ethics as a significant kind of issue. This is the problem of conflicts of interest. (shrink)

This special issue, which includes papers first presented at two workshops on ‘Memory, Mind, and Media’ in Sydney on November 29–30 and December 2–3, 2004, showcases some of the best interdisciplinary work in philosophy and psychology by memory researchers in Australasia (and by one expatriate Australian, Robert Wilson of the University of Alberta). The papers address memory in many contexts: in dance and under hypnosis, in social groups and with siblings, in early childhood and in the laboratory. Memory is taken (...) as a test case for evaluating the optimistic vision of a new kind of cognitive science defended by Andy Clark. Clark (2001:154) argues: Much of what matters about human intelligence is hidden not in the brain, nor in the technology, but in the complex and iterated interactions and collaborations between the two ... The study of these interaction spaces is not easy, and depends both on new multidisciplinary alliances and new forms of modelling and analysis. The pay-off, however, could be spectacular: nothing less than a new kind of cognitive scientific collaboration involving neuroscience, physiology, and social, cultural, and technological studies in about equal measure. So the central motivation is to investigate critically how well the case of memory would fit the extended mind’ thesis put forward by Clark and Chalmers (Clark and Chalmers 1998; Clark 1997, 2006)—according to which mental states and processes can spread across the.. (shrink)

Draft version of essay. ABSTRACT: Benjamin Whichcote developed a distinctive account of human nature centered on our moral psychology. He believed that this view of human nature, which forms the foundation of “Cambridge Platonism,” showed that the demands of reason and faith are not merely compatible but dynamically supportive of one another. I develop an interpretation of this oft-neglected and widely misunderstood account of human nature and defend its viability against a key objection.

My objective in this paper is to address a handful of issues that typically get raised in discussions of philosophical anarchism. Some of these issues arise in discussions among partisans of anarchism, and some are more likely to be raised in efforts to defend the state against its opponents. My hope is to focus the argument in such a way as to make clearer the main issues that are at stake from the point of view of at least one version (...) of philosophical anarchism. (shrink)

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...) or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...) aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

This is an English translation of Waldenfels' German essay: Equality and inequality are basic elements of law, justice and politics. Equality integrates each of us into a common sphere by distributing rights, duties and chances among us. Equality turns into mere indifference as far as we get overintegrated into social orders. When differences are fading away experience loses its relief and individuals lose their face. Our critical reflections start from the inevitable paradox of making equal what is not equal. In (...) various ways they refer to Nietzsche’s concept of order, to Marx’s analysis of money, to Lévinas’s ethics of the Other, and to novelists like Dostoevsky and Musil. Our critique turns against two extremes, on the one hand against any sort of normalism fixed on functioning orders, on the other hand against any sort of anomalism dreaming of mere events and permanent ruptures. Responsive phenomenology shows how we are confronted with extraordinary events. Those deviate from the ordinary and transgress its borders, without leaving the normality of our everyday world behind. The process of equalizing moves between the ordinary and the extraordinary. What makes the difference and resists mere indifference are creative responses which are to be invented again and again. (shrink)

Cognitive science is ready for a major reconceptualization. This is not at all because efforts by its practitioners have failed, but rather because so much progress has been made. The need for reconceptualization arises from the fact that this progress has come at greater cost than necessary, largely because of more or less philosophical (at least metatheoretical) straightjackets still worn - whether wittingly or not - by those doing the work. These bonds are extremely hard to break. Even some of (...) those who have directed powerful arguments against them have failed entirely to shake them off. The bonds are often attributed to the work of René Descartes, but they are really much older than that. If even in the present effort, I fail entirely to remove the straightjacket myself (even though I am making every attempt to get it off), this will testify to its tight grip. The straightjacket I am thinking about, of course, is the vague picture of the human situation that imagines centralized, internal minds in control of bodily machines. While almost no one in the contemporary cognitive science arena imagines minds to be the kind of thing Descartes took them to be - instantiations of a unique, fully non-material substance - there is nevertheless a deep resistance, even among the most fervent professed "materialists," to giving up this picture. In what follows, I shall try to offer an approach which on the one hand capitalizes on the excellent progress that has been made in cognitive science in the last few decades, and which on the other hand offers a general approach that may help at some level in the attempt to shake "Cartesian" bonds. The approach, as the alert reader already knows from the title of the essay, is an "ecological" approach. (shrink)

George Berkeley's apparently strange view – that nothing exists without a mind except for minds themselves – is notorious. Also well known, and equally perplexing at a superficial level, is his insistence that his doctrine is no more than what is consistent with common sense. It was every bit as crucial for Berkeley that it be demonstrated that the colors are really in the tulip, as that there is nothing that is neither a mind nor something perceived by a mind. (...) In what follows, I shall attempt to re-examine Berkeley's argument in terms of what it appears to have meant to him. I am especially interested in the connection between Berkeley's thought concerning the relation between perception and metaphysics and that of Maurice Merleau-Ponty, with whom, perhaps surprisingly, Berkeley shared a great many intuitions and concerns. Thus part of my objective is to compare and contrast the work of two thinkers who had many common interests, and whose thought frequently led them down similar paths. I shall be especially interested in apparent points of departure, both those that turn out to reflect real divergences and those which reflect confusions of one kind or another. My main objective, however, is not mere textual analysis. Like both Berkeley and Merleau-Ponty, my main hope is to make progress in clarifying how things are. As odd as some of Berkeley's pronouncements may sound to contemporary ears – concerning especially the metaphysical consequences of what he regarded as perceptual facts – I shall argue that, in substance, he was often not far wrong at all – at least as measured by important strands of more contemporary work on the subject. More particularly, I shall contend that for going a long way down an extraordinarily fruitful path which has been subsequently explored more fully by (especially) Martin Heidegger, Merleau-Ponty, Nelson Goodman and Hilary Putnam, Berkeley deserves considerably more credit than he is usually accorded as a progenitor of contemporary approaches to metaphysical issues. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

What is analytical philosophy of education (APE)? And what has been its place in the history of the subject over the last fifty years? In a recent essay in Ethics and Education (Vol 2, No 2 October 2007) on ‘Rival conceptions of the philosophy of education’, Paul Standish described a number of features of APE. Relying on both historical and philosophical argument, the present paper critically assesses these eight points, as well as another five points delineating APE in the Introduction (...) to The Blackwell Guide to the Philosophy of Education. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...) the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (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)

On the basis of arguments put forth by (Kripke, 1977a) and (Kripke, 1980), it is widely held that one can sometimes rationally accept propositions of the form "P and not-P" and also that there are necessary a posteriori truths. We will find that Kripke's arguments for these views appear probative only so long as one fails to distinguish between semantics and presemantics—between the literal meanings of sentences, on the one hand, and the information on the basis of which one identifies (...) those literal meanings, on the other. This same failure, it will be argued, underlies the popular thesis that intersubstituting co-referring terms sometimes turns true sentences into false ones and vice versa. Though seemingly plausible, this thesis has a number of counterintuitive consequences, among them that the occurrence of “snow” in “it is true that snow is white” doesn’t refer to snow. An understanding of the distinction between semantics and presemantics suggests a way to develop a semantic system that doesn’t have these consequences and that, moreover, reconciles our intuitions concerning cognitive content with some powerfully argued theses of contemporary philosophy of language. Some of this paper's main contentions are anticipated by Andrzej Boguslawski in his 1994 paper “Sentential Complementation and Truth.”. (shrink)

Progress in the last few decades in what is widely known as “Chaos Theory” has plainly advanced understanding in the several sciences it has been applied to. But the manner in which such progress has been achieved raises important questions about scientific method and, indeed, about the very objectives and character of science. In this presentation, I hope to engage my audience in a discussion of several of these important new topics.

In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...) problems with his approach, so that overall it is no more successful than more standard resemblance views of depiction. (shrink)

Moti Mizrahi argues that Gettier cases are unsuccessful counterexamples to the traditional analysis of knowledge (TAK) because such cases inadequately reveal epistemic failures of justified true belief (JTB); and because Gettier cases merely demonstrate semantic inadequacy, the apparent epistemic force of Gettier cases is misleading. Although Mizrahi claims to have deflated the epistemic force of Gettier cases, I will argue that the presence of semantic deficiency in Gettier cases neither requires nor indicates the denial of the epistemic force of those (...) cases. I will provide an extracted version of Mizrahi’s argument, which I believe to be most charitable to his motivation. Then I will offer a counterexample to a pivotal premise in Mizrahi’s argument, ultimately rendering the argument unsound. Finally, upon the examination of a plausible objection, I conclude that Gettier cases are epistemically sustained. (shrink)

Harry Heft's Ecological Psychology in Context is an important book in many ways. For one thing, it adds considerably to our understanding of the historical background of J.J. Gibson's thought. But more than that, Heft aims to place ecological psychology not just historically, but philosophically. He says "This volume shows that radical empiricism stands at the heart of Gibson's ecological program, and it can usefully be employed as the conceptual centerpiece for ecological psychology more broadly construed" (p. xvi). While I (...) was impressed with Harry's argument to this effect, I'm not yet entirely persuaded. In these brief remarks I'll try to explain why. (shrink)

I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...) of the sculptors are distinct. This case is then contrasted with an attempted parallel example for design intentions, which fails to produce two correspondingly distinct design products in spite of the different design intentions of its designers. I argue that this failure occurs because designs are types, for which any single token of a given type could not simultaneously be a token of some other type of the same general kind; whereas the possibility of my sculptural 'double artwork' example shows that such artworks cannot be types. I then further investigate the concept of a design, and conclude by arguing that an extension of my sculptural example shows that literary artworks also cannot be types. (shrink)

Ksiazka Roberta Paula Wolfa Apologia anarchizmu, ktora ukazala sie w roku 1970, stala sie niezwyklym wydarzeniem w rozwoju dwudziestowiecznej filozofii zachodniej: oto bowiem szacowny filozof, reprezentujacy (mniej wiecej) glowny nurt swej dziedziny, przedstawial argumenty zyczliwe wobec anarchizmu.

Sutton's response to three reviews, by Catherine Wilson, Theo Meyering, and Michael Mascuch. Topics include historical cognitive science; the historical link between animal spirits and neural nets; conceptual change; control and time in memory; and Descartes the neurophilosopher.

Opening sentences: "This paper concerns an argument which, in this author's experience, often comes up in discussions of 'Why be moral?' Although initially tempting, the argument is in error. The error warrants attention not only because it spoils the argument but because it connects to a second error which is easy to make. Both errors concern the relation between desires and (normative) practical reasons.".

People have been arguing about natural law for at least a couple of thousand years now. During that time, a number of substantially different sorts of theory have been identified as falling within the natural law tradition. Even within each sort of natural law theory, there has been a variety of quite different arguments proposed, both in behalf of and in opposition to the theory. These facts about the natural law tradition serve to confound its critics. It's extremely tough to (...) get a tidy formulation of just what natural law theory is, and such a formulation is needed if the theory is to be analyzed as to its adequacy, truth, value, or whatever. I am going to try to perform such an analysis nonetheless, and to do it as neatly as possible within a fairly short space. (shrink)

thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be vindicated by (...) reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted. (shrink)

In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting (...) that which the words ordinarily refer to or describe when being used literally. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of (...) expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...) token. The investigation also raises some significant issues concerning artistic printmaking, and strongly suggests in addition that two new concepts of interpretation--of identifying and constitutive interpretation--are required to adequately explain the artistic phenomena that are uncovered. (shrink)

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

Previous failures to resolve the Andromeda paradox are discussed, and a resolution is presented using bricolage.