Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical (...) world and the superphysical world. The concept of intuition has been interpreted together with the teachings of Theosophy and Buddhism and turned into an educational theory in today's art-based studies. In our age, interpretations beyond reality are increasing and unfortunately faced with the danger of losing the ground of reality. Art is a type of knowledge and knowing. Due to this feature, the compatibility of surreal discourses with this type of knowledge is discussed in this article, and on the other hand, it is tried to show how concepts such as synesthesia and intuition become possible on the basis of reality, based on the artistic experiences of world-famous artists. (shrink)

Higher-order logic, with its type-theoretic apparatus known as the simple theory of types (STT), has increasingly come to be employed in theorizing about properties, relations, and states of affairs—or ‘intensional entities’ for short. This paper argues against this employment of STT and offers an alternative: ordinal type theory (OTT). Very roughly, STT and OTT can be regarded as complementary simplifications of the ‘ramified theory of types’ outlined in the Introduction to Principia Mathematica (on a realist reading). While STT, (...) understood as a theory of intensional entities, retains the Fregean division of properties and relations into a multiplicity of categories according to their adicities and ‘input types’ and discards the division of intensional entities into different ‘orders’, OTT takes the opposite approach: it retains the hierarchy of orders (though with some modifications) and discards the categorisation of properties and relations according to their adicities and input types. In contrast to STT, this latter approach avoids intensional counterparts of the Epimenides and related paradoxes. Fundamental intensional entities lie at the base of the proposed hierarchy and are also given a prominent part to play in the individuation of non-fundamental intensional entities. (shrink)

Recent debates in metaphysics have highlighted the significance of type theories, such as Simple Type Theory (STT), for our philosophical analysis. In this chapter, I present the salient features of a constructive type theory in the style of Martin-Löf, termed CTT. My principal aim is to convey the flavour of this rich, flexible and sophisticated theory and compare it with STT. I especially focus on the forms of quantification which are available in CTT. A further aim (...) is to argue that a comparison between a plurality of theories is beneficial to the philosophical analysis. We may, for example, discover helpful features of one theory that we may want to import into another context, thus enriching our repertoire of formal tools. Or, through comparison with a less well-known theory, we may gain a better understanding of the characteristics of the theories we are familiar with. As argued in this chapter, CTT has much to offer in all of these respects. (shrink)

Standard Type Theory, STT, tells us that b^n(a^m) is well-formed iff n=m+1. However, Linnebo and Rayo have advocated the use of Cumulative Type Theory, CTT, has more relaxed type-restrictions: according to CTT, b^β(a^α) is well-formed iff β > α. In this paper, we set ourselves against CTT. We begin our case by arguing against Linnebo and Rayo’s claim that CTT sheds new philosophical light on set theory. We then argue that, while CTT ’s type-restrictions are unjustifiable, (...) the type-restrictions imposed by STT are justified by a Fregean semantics. What is more, this Fregean semantics provides us with a principled way to resist Linnebo and Rayo’s Semantic Argument for CTT. We end by examining an alternative approach to cumulative types due to Florio and Jones; we argue that their theory is best seen as a misleadingly formulated version of STT. (shrink)

I explore the possibility of a structuralist interpretation of homotopy type theory (HoTT) as a foundation for mathematics. There are two main aspects to HoTT's structuralist credentials. First, it builds on categorical set theory (CST), of which the best-known variant is Lawvere's ETCS. I argue that CST has merit as a structuralist foundation, in that it ascribes only structural properties to typical mathematical objects. However, I also argue that this success depends on the adoption of a strict typing system (...) which undermines the metaphysical seriousness of this structuralism. Homotopy type theory adds to CST a distinctive theory of identity between sets, which arguably allows its objects to be seen as ante rem structures. I examine the prospects for such a view, and address many other interpretive problems as they arise. (shrink)

Minimal Type Theory (MTT) is based on type theory in that it is agnostic about Predicate Logic level and expressly disallows the evaluation of incompatible types. It is called Minimal because it has the fewest possible number of fundamental types, and has all of its syntax expressed entirely as the connections in a directed acyclic graph.

This is the formal YACC BNF specification for Minimal Type Theory (MTT). MTT was created by augmenting the syntax of First Order Logic (FOL) to specify Higher Order Logic (HOL) expressions using FOL syntax. Syntax is provided to enable quantifiers to specify type. FOL is a subset of MTT. The ASSIGN_ALIAS operator := enables FOL expressions to be chained together to form HOL expressions.

I here discuss two problems facing Russellian act-type theories of propositions, and argue that Fregean act-type theories are better equipped to deal with them. The first relates to complex singular terms like '2+2', which turn out not to pose any special problem for Fregeans at all, whereas Soames' theory currently has no satisfactory way of dealing with them (particularly, with such "mixed" propositions as the proposition that 2+2 is greater than 3). Admittedly, one possibility stands out (...) as the most promising one, but it requires that the Russellian treat complex properties as constituents of propositions. This leads to the second major problem for Russellians: that of proliferating propositions. I show how the most direct solution to this problem, that of rejecting complex predicative propositional constituents is available to Fregeans but very implausible for Russellians, since this virtually means rejecting complex properties. (shrink)

This article proposes a way of doing type theory informally, assuming a cubical style of reasoning. It can thus be viewed as a first step toward a cubical alternative to the program of informalization of type theory carried out in the homotopy type theory book for dependent type theory augmented with axioms for univalence and higher inductive types. We adopt a cartesian cubical type theory proposed by Angiuli, Brunerie, Coquand, Favonia, Harper, and Licata as the (...) implicit foundation, confining our presentation to elementary results such as function extensionality, the derivation of weak connections and path induction, the groupoid structure of types, and the Eckmman–Hilton duality. (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)

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)

Rather than an emphasis on style as unique to an author, this study argues for the notion of group styles. Three are proposed: tight, loose, and balanced. Examples of each type are illustrated.

This paper applies homotopy type theory to formal semantics of natural languages and proposes a new model for the linguistic phenomenon of copredication. Copredication refers to sentences where two predicates which assume different requirements for their arguments are asserted for one single entity, e.g., "the lunch was delicious but took forever". This paper is particularly concerned with copredication sentences with quantification, i.e., cases where the two predicates impose distinct criteria of quantification and individuation, e.g., "Fred picked up and mastered (...) three books." In our solution developed in homotopy type theory and using the rule of existential closure following Heim analysis of indefinites, common nouns are modeled as identifications of their aspects using HoTT identity types, e.g., the common noun book is modeled as identifications of its physical and informational aspects. The previous treatments of copredication in systems of semantics which are based on simple type theory and dependent type theories make the correct predictions but at the expense of ad hoc extensions (e.g., partial functions, dot types and coercive subtyping). The model proposed here, also predicts the correct results but using a conceptually simpler foundation and no ad hoc extensions. (shrink)

Minimal Type Theory (MTT) shows exactly how all of the constituent parts of an expression relate to each other (in 2D space) when this expression is formalized using a directed acyclic graph (DAG). This provides substantially greater expressiveness than the 1D space of FOPL syntax. -/- The increase in expressiveness over other formal systems of logic shows the Pathological Self-Reference Error of expressions previously considered to be sentences of formal systems. MTT shows that these expressions were never truth bearers, (...) thus never sentences of any formal logic system. (shrink)

There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also (...) bypasses contentious issues regarding the status of both indicated and 'initiated' types, as extensively discussed in the BJA. (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)

As emphasized by Alonzo Church and David Kaplan (Church 1974, Kaplan 1975), the philosophies of language of Frege and Russell incorporate quite different methods of semantic analysis with different basic concepts and different ontologies. Accordingly we distinguish between a Fregean and a Russellian tradition in intensional semantics. The purpose of this paper is to pursue the Russellian alternative and to provide a language of intensional logic with a model-theoretic semantics. We also discuss the so-called Russell-Myhill paradox that threatens simple Russellian (...) type theory if propositions satisfies very strict principles of individuation. One way of avoiding the paradox is to adopt a ramified rather than a simple theory of types. (shrink)

It has been argued that reduction procedures are closely connected to the question about identity of proofs and that accepting certain reductions would lead to a trivialization of identity of proofs in the sense that every derivation of the same conclusion would have to be identified. In this paper it will be shown that the question, which reductions we accept in our system, is not only important if we see them as generating a theory of proof identity but is also (...) decisive for the more general question whether a proof has meaningful content. There are certain reductions which would not only force us to identify proofs of different arbitrary formulas but which would render derivations in a system allowing them meaningless. To exclude such cases, a minimal criterion is proposed which reductions have to fulfill to be acceptable. (shrink)

Types are fundamental for conceptual modeling and knowledge representation, being an essential construct in all major modeling languages in these fields. Despite that, from an ontological and cognitive point of view, there has been a lack of theoretical support for precisely defining a consensual view on types. As a consequence, there has been a lack of precise methodological support for users when choosing the best way to model general terms representing types that appear in a domain, and for building sound (...) taxonomic structures involving them. For over a decade now, a community of researchers has contributed to the development of the Unified Foundational Ontology (UFO) - aimed at providing foundations for all major conceptual modeling constructs. At the core of this enterprise, there has been a theory of types specially designed to address these issues. This theory is ontologically well- founded, psychologically informed, and formally characterized. These results have led to the development of a Conceptual Modelling language dubbed OntoUML, reflecting the ontological micro-theories comprising UFO. Over the years, UFO and OntoUML have been successfully employed on conceptual model design in a variety of domains including academic, industrial, and governmental settings. These experiences exposed improvement opportunities for both the OntoUML language and its underlying theory, UFO. In this paper, we revise the theory of types in UFO in response to empirical evidence. The new version of this theory shows that many of OntoUML’s meta-types (e.g. kind, role, phase, mixin) should be considered not as restricted to substantial types but instead should be applied to model endurant types in general, including relator types, quality types, and mode types. We also contribute with a formal characterization of this fragment of the theory, which is then used to advance a new metamodel for OntoUML (termed OntoUML 2). To demonstrate that the benefits of this approach are extended beyond OntoUML, the proposed formal theory is then employed to support the definition of UFO-based lightweight Semantic Web ontologies with ontological constraint checking in OWL. Additionally, we report on empirical evidence from the literature, mainly from cognitive psychology but also from linguistics, supporting some of the key claims made by this theory. Finally, we propose a computational support for this updated metamodel. (shrink)

It is often claimed that the theory of function levels proposed by Frege in Grundgesetze der Arithmetik anticipates the hierarchy of types that underlies Church’s simple theory of types. This claim roughly states that Frege presupposes a type of functions in the sense of simple type theory in the expository language of Grundgesetze. However, this view makes it hard to accommodate function names of two arguments and view functions as incomplete entities. I propose and defend an alternative interpretation (...) of first-level function names in Grundgesetze into simple type-theoretic open terms rather than into closed terms of a function type. This interpretation offers a still unhistorical but more faithful type-theoretic approximation of Frege’s theory of levels and can be naturally extended to accommodate second-level functions. It is made possible by two key observations that Frege’s Roman markers behave essentially like open terms and that Frege lacks a clear criterion for distinguishing between Roman markers and function names. (shrink)

This is part two of a two-part paper in which we develop an axiomatic theory of the relation of partial ground. The main novelty of the paper is the of use of a binary ground predicate rather than an operator to formalize ground. In this part of the paper, we extend the base theory of the first part of the paper with hierarchically typed truth-predicates and principles about the interaction of partial ground and truth. We show that our theory is (...) a proof-theoretically conservative extension of the ramified theory of positive truth up to. (shrink)

In a lengthy review article, C. Anthony Anderson criticizes the approach to property theory developed in Quality and Concept (1982). That approach is first-order, type-free, and broadly Russellian. Anderson favors Alonzo Church’s higher-order, type-theoretic, broadly Fregean approach. His worries concern the way in which the theory of intensional entities is developed. It is shown that the worries can be handled within the approach developed in the book but they remain serious obstacles for the Church approach. The discussion focuses (...) on: (1) the fine-grained/coarse-grained distinction, (2) proper names and definite descriptions, (3) the paradox of analysis and Mates’ puzzle, and (4) the logical, semantical, and intentional paradoxes. (shrink)

Instead of the half-century old foundational feud between set theory and category theory, this paper argues that they are theories about two different complementary types of universals. The set-theoretic antinomies forced naïve set theory to be reformulated using some iterative notion of a set so that a set would always have higher type or rank than its members. Then the universal u_{F}={x|F(x)} for a property F() could never be self-predicative in the sense of u_{F}∈u_{F}. But the mathematical theory (...) of categories, dating from the mid-twentieth century, includes a theory of always-self-predicative universals--which can be seen as forming the "other bookend" to the never-self-predicative universals of set theory. The self-predicative universals of category theory show that the problem in the antinomies was not self-predication per se, but negated self-predication. They also provide a model (in the Platonic Heaven of mathematics) for the self-predicative strand of Plato's Theory of Forms as well as for the idea of a "concrete universal" in Hegel and similar ideas of paradigmatic exemplars in ordinary thought. (shrink)

In this paper we define intensional models for the classical theory of types, thus arriving at an intensional type logic ITL. Intensional models generalize Henkin's general models and have a natural definition. As a class they do not validate the axiom of Extensionality. We give a cut-free sequent calculus for type theory and show completeness of this calculus with respect to the class of intensional models via a model existence theorem. After this we turn our attention to applications. (...) Firstly, it is argued that, since ITL is truly intensional, it can be used to model ascriptions of propositional attitude without predicting logical omniscience. In order to illustrate this a small fragment of English is defined and provided with an ITL semantics. Secondly, it is shown that ITL models contain certain objects that can be identified with possible worlds. Essential elements of modal logic become available within classical type theory once the axiom of Extensionality is given up. (shrink)

This paper distinguishes two types of qualia theory, which I call Galilean and non-Galilean qualia theories. It also offers considerations against each type of theory. To my mind the considerations are powerful. In any case, they bring out the importance of distinguishing the two types of theory. For they show that different considerations come into play—or considerations come into play in quite different ways—in assessing the two types of theory.

The article contains a critical analysis of Wittgenstein’s theory of logical symbolism. According to an influential interpretation, Wittgenstein presented in the Tractatus a new method of solving paradoxes. This method seems a simple and effective alternative to Russell’s type theory. Wittgenstein’s theory of logical symbolism is based on the requirement of clear notation and the context principle: the type of a symbol only “shows” itself in the way we use the signs of our language. The function sign φ(φx) (...) does not express any paradox, because the syntactic rules for its use, written in clear notation, should “show” us that φ(φx) = ψ(φx). Many researchers (Davant, Ishiguro, Mounce, Ruffino, Friedlander, Jolley, Livingston, Ladov, et al.) follow this interpretation. However, the difficulty of such a view on Wittgenstein’s theory of logical symbolism is that there hides the fallacy of petitio principii. Indeed, in examples of a functional sign of the form φ(φx), we are interested not only in the question of whether the functions φ are different symbols, but also in how this functional sign φ(φx) itself excludes the symbolization of the same object by different ways. This interpretation is contrasted with the idea that Wittgenstein’s theory of logical symbolism is in fact a modified analogue of Russell’s simple theory of types. The reciprocality principle becomes the core of Wittgenstein’s theory: the combinatorial potential of the “prototype” of a functional sign is identical to the combinatorial potential of the “prototype” of an argument. According to Wittgenstein, only describing the combinatorial potential of linguistic expressions (symbols) can vanish the illusion of paradoxes. The function cannot be its argument, because the function sign φ(φx) already contains the “prototype” of its argument, “showing” us that φ(φx) = φx. The correctness of this interpretation does not exclude the possibility that the differences between Russell and Wittgenstein are in fact nothing more than façon de parler. (shrink)

CORCORAN RECOMMENDS COCCHIARELLA ON TYPE THEORY. The 1983 review in Mathematical Reviews 83e:03005 of: Cocchiarella, Nino “The development of the theory of logical types and the notion of a logical subject in Russell's early philosophy: Bertrand Russell's early philosophy, Part I”. Synthese 45 (1980), no. 1, 71-115 .

Type identity theory was dismissed in 1967 by many philosophers due to Hilary Putnam’s multiple realisability objection seeming fatal. This paper delves into a critique of type identity theory, thereby paving the way for introducing an alternative theory of mind: emergentism. The longstanding philosophical discourse around the mind has been dominated by the binary opposition of classical physicalist and dualist theories. However, the impact of scientific discovery on contemporary thought has sparked an increasing inclination towards reductive physicalist (...) frameworks, with the aim of aligning with the scientific method. Thus, contemporary thinkers have branched out to explore new physicalistic ideas. This paper examines the inherent challenges in all reductive physicalist theories, shedding light on their limitations and proposing potential solutions to overcome the obstacles. This analysis demonstrates that type identity theory, akin to its reductive counterparts, fails to accommodate for the irreducibility of consciousness. This is consciousness as characterised by Thomas Nagel’s “what is it likeness” of experience, which is inherently subjective. Instead, this paper contends that emergentism offers a compelling alternative despite being a physicalist theory. It posits consciousness as a higher-order phenomenon, one that transcends reduction to its constituent components. I argue that this attribute of emergentism makes it a promising theory in the ongoing quest for an understanding of the mind and consciousness. (shrink)

In a series of papers Ladyman and Presnell raise an interesting challenge of providing a pre-mathematical justification for homotopy type theory. In response, they propose what they claim to be an informal semantics for homotopy type theory where types and terms are regarded as mathematical concepts. The aim of this paper is to raise some issues which need to be resolved for the successful development of their types-as-concepts interpretation.

This article takes up Lipovetsky‟s discussion on artistic capitalism in L’esthétisation du monde. Vivre à l’âge du capitalisme artiste, to trace its definitions and methodological construction, but also in order to create a critical theory of artistic capitalism, based on the following working-hypothesis: the production of art and the production of self, understood in the sense of a Foucauldian project of the aesthetics of existence, represent correspondent purposes in artistic capitalism. My research will be focused on examining (...) previous attempts of developing such a critical inquiry, claimed by Luc Boltanski, Eve Chiapello, and Luc Ferry. It is my thesis that the failure of a homogeneous critical theory of artistic capitalism is owed to different inconsistent interpretations of contaminating ethics with aesthetics in order to create an ideal of morality and authenticity for the existence of the individual inspired by contemporary techniques of art production, aspects that were conceived by Lipovetsky as parts of the process of the “aestheticization of the world”. (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)

Contemporary moral theorists are increasingly attentive to the ways human beings actually make sense of their moral experience and compose meaningful lives. Martha Nussbaum's re-introduction of Aristotelian practical wisdom and Alasdair MacIntyre's emphasis on narrativity are good examples of a shift in focus away from tedious polemics about the single "right thing to do" in a situation. But recent theorists have tended to lack a highly articulated philosophical framework--especially a full-blooded theory of moral belief and deliberation--that would enable us better (...) to wend our way along the trails they have blazed. We are born, MacIntyre proclaims, with a social past, a tradition into which we grow. Yet MacIntyre advances a new moral vision independent of recent philosophical traditions that might accommodate and direct his own insights and inquiries. Classical American pragmatism, especially as developed by John Dewey, provides a framework that can clarify and extend the achievements of contemporary moral theory. I contend that a thoroughgoing reconstruction of our moral vision would profit immensely from looking back to Dewey's theory of moral understanding. I propose here to articulate the center of vision of this theory by developing a Deweyan conception of deliberation as imaginative dramatic rehearsal. (shrink)

Recent investigations surprisingly indicate that single RNA "stem-loops" operate solely by chemical laws that act without selective forces, and in contrast, self-ligated consortia of RNA stem-loops operate by biological selection. To understand consortial RNA selection, the concept of single quasi-species and its mutant spectra as drivers of RNA variation and evolution is rethought here. Instead, we evaluate the current RNA world scenario in which consortia of cooperating RNA stem-loops are the basic players. We thus redefine quasispecies as RNA quasispecies consortia (...) and argue that it has essential behavioral motifs that are relevant to the inherent variation, evolution and diversity in biology. We propose that qs-c is an especially innovative force. We apply qs-c thinking to RNA stem-loops and evaluate how it yields altered bulges and loops in the stem-loop regions, not as errors, but as a natural capability to generate diversity. This basic competence-not error-opens a variety of combinatorial possibilities which may alter and create new biological interactions, identities and newly emerged self identity functions. Thus RNA stem-loops typically operate as cooperative modules, like members of social groups. From such qs-c of stem-loop groups we can trace a variety of RNA secondary structures such as ribozymes, viroids, viruses, mobile genetic elements as abundant infection derived agents that provide the stem-loop societies of small and long non-coding RNAs. (shrink)

This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...) removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

Reedition of papers in English spanning from 1986 to 2009 /// Historical background -- An imposed legacy -- Twentieth century contemporaneity -- Appendix: The philosophy of teaching legal philosophy in Hungary /// HISTORICAL BACKGROUND -- PHILOSOPHY OF LAW IN CENTRAL & EASTERN EUROPE: A SKETCH OF HISTORY [1999] 11–21 // PHILOSOPHISING ON LAW IN THE TURMOIL OF COMMUNIST TAKEOVER IN HUNGARY (TWO PORTRAITS, INTERWAR AND POSTWAR: JULIUS MOÓR & ISTVÁN LOSONCZY) [2001–2002] 23–39: Julius Moór 23 / István Losonczy 29 // (...) ON THE SURVIVAL OF ILMAR TAMMELO’S LETTER AND MANUSCRIPT ADDRESSED TO PROFESSOR MOÓR [2009] 41–44 // PROFESSIONAL DISTRESS AND SCARCITY: ALEXANDER HORVÁTH AND THE LEGACY OF NATURAL LAW IN HUNGARY [2005] 45–50 // HUNGARIAN LEGAL PHILOSOPHY IN THE 20TH CENTURY [2011] 51–72: I. The Pre-war Period [1. Bódog (Felix) Somló (1871–1920) 52] / II. The Inter-war Period [2. Gyula (Julius) Moór (1888–1950) 54 / 3. Barna Horváth (1896–1973) 55 / 4. József Szabó (1909–1992) 57 / 5. István Bibó (1911–1979) 58 / 6. Tibor Vas (1911–1983) 59 / 7. István Losonczy (1918–1980) 60] III. The Post-war Period (Communism) 61 [8. Imre Szabó (1912–1991) 62 / 9. Vilmos Peschka (1929–2006) 63 / 10. Kálmán Kulcsár (1928–2010) 65] IV. Contemporary Trends and Perspectives 66 [11. Csaba Varga (b. 1941) 66 / 12. András Sajó (b. 1949) 69 / 13. Béla Pokol (b. 1950) 70] V. Our Understanding of the Law Today 71 --- AN IMPOSED LEGACY -- LOOKING BACK [1999] 75–94: 1. On Ideologies and Marxism in general 75 / 2. Life of an Intellectual in Communism 79 / 3. On Marxism and its Socialist Cultivation in Particular 82 / 4. Legal Philosophising [4.1. Approaches to Law 87 / 4.2. Arriving at a Legal Ontology 91] 5. Conclusion 94 // LEGAL PHILOSOPHY OF THE MARXISM OF SOCIALISM: HUNGARIAN OVERVIEW IN AN INTERNATIONAL PERSPECTIVE [2003] 95–151: I. Development and Balance of Marxist Philosophising on Law in Hungary [1. Preliminaries (until 1948) 96 / 2. Stalinism (from the Soviet Occupation on) {a) Liquidation of the »Residues« 98 / b) Soviet-type Uniformisation [Gleichschaltung] 99 / c) Denial of the Past, with a Dual Effect 99 / d) »Socialist Legality«, Drawn from the Progressive Past of Western Europe 103 / e) Search for the Germs of Scholarly Evolution 103} 3. Institutionalisation Accompanied by Relaxation (from the 1960s) [a) Epigonism Becoming the Scholarly Ideal 104 / b) Stalinism in a Critical Self-perspective 105 / c) Disciples Diversified Launching their own Trends 107 / d) Comparatism 110 / e) (Re)discovery of the Western Legal Philosophy as a Competitor 112 / f) A Leading Mediatory Role within the »Socialist World Order« 114} 4. Disintegration (in the 1980s) {a) Attempt at Laying New Foundations for Marxism with Epigonism Exhausted 115 / b) Competitive Trends Becoming Exclusive 115 / c) Western Legal Philosophy Acknowledged as a Fellow-traveller within the Socialist Orbit Proper 116 / d) Hungarian Legal Theory Transforming into a National Corpus 118 / e) The Practical Promotion of Some Balance 119} 5. End-game for a Substitute State Religion (in the 1990s) 120] II. Marxist Legal Philosophising in an International Perspective [Ad 1: To the Preliminaries 122 / Ad 2: To Stalinism 124 / Ad 3: To Institutionalisation Accompanied by Relaxation {a) Late Separation from Vishinskiy’s Theory 125 / b) From Ideological Self-closure to an Apparently Scholarly Openness 127 / c) From Political Ideology to Genuine Scholarship 130 / d) International Recognition of Socialist Jurisprudence as an Independent Trend 135 / e) Together with Western Trends 137} Ad 4: To Disintegration {a) Loss of Attraction as Mere Epigonism 139 / b) Exclusivity of Competing Trends 139 / c) Fellowship with »Bourgeois« Trends 140 / d) An own Trend, Internationally Recognised 141 / e) A yet Progressive Role 142} Ad 5: To the Present state 143] III. A Temporary Balance 145 // AUTONOMY AND INSTRUMENTALITY OF LAW IN A SUPERSTRUCTURAL PERSPECTIVE [1986] 151–175: 1. The Strange Fate of Concepts 151 / I. A Relational Category 2. Basis and Superstructure: The Genuine Meaning 154 / 3. Exerting Social Influence as a Conceptual Minimum 156 / 4. Relationships within the Prevailing Totality 158 / 5. Attempts at Interpretation in Hungary 159 / 6. The Lukácsian Stand 162 / 7. Lukács’s Recognitions 168 / 8. Some Criticism 169 / II. The Law’s Understanding 171 / 9. Law Interpreted as Superstructure 171 / 10. Conclusions Drawn for the Law’s Understanding 173 // LEGAL THEORY IN TRANSITION (A PREFACE FROM HUNGARY) [2000] 177–186 // DEVELOPMENT OF THEORETICAL LEGAL THOUGHT IN HUNGARY AT THE TURN OF THE MILLENNIUM [2006] 187–215: 1. International Environment 188 / 2. The Situation in Hungary 190 / 3. Outlook I: The Historical-comparative Study of Legal Cultures and of the Lawyerly Way of Thinking 203 / 4. Outlook II: The Paradigmatic Enigma of the Transition to Rule of Law 207 / 5. Incongruity in Practice 213 / 6. Perspectives 214 --- TWENTIETH CENTURY CONTEMPORANEITY -- CHANGE OF PARADIGMS IN LEGAL RECONSTRUCTION: CARL SCHMITT AND THE TEMPTATION TO FINALLY REACH A SYNTHESIS [2002] 219–234: 1. Dangers of Intellectualism 219 / 2. Schmitt in Facts 221 / 3. Schmitt and Kelsen 222 / 4. On Bordering Conditions 226 / 5. With Kelsen in Transubstantiation 230 / 6. Polarisation as the Path of Theoretical Development 232 // KELSENIAN DOCUMENTS IN HUNGARY: CHAPTERS ON CONTACTS, INCLUDING THE GENESIS OF AUTOBIOGRAPHY [2006] 235–243: 1. Preludes 235 / 2. The Search for Moór’s Bequeath 235 / 3. Moór’s Collegiality 238 / 4. Bibó as a Disciple Translating 241 // THE »HART-PHENOMENON« [2002] 245–267: I. The Hart-miracle 246 [1. The Scene of Britain at the Time 247 / 2. The Personal Career 250 / 3. The Opus’ Career 252 / 4. Verbal Sociologism 255 / 5. Growing into the British Pattern 259] II. The Hart-phenomenon 260 [6. Origination of a Strange Orthodoxy 261 / 7. Mastering Periods of the 20th Century 263 / 8. Raising the Issue of Reception in Hungary 365] // LITERATURE? A SUBSTITUTE FOR LEGAL PHILOSOPHY? [2007] 269–287: 1. The Enigma of Law and its Study 269 / 2. “Law and Literature” 271 / 3. Varieties of “Law and Literature” 274 / 4. The German Study of Artistic Representations 280 / 5. Some Literary Reconsiderations 285 / 6. Conclusion 287 --- APPENDIX -- THE PHILOSOPHY OF TEACHING LEGAL PHILOSOPHY IN HUNGARY [2007] 291–320: I. Why and How to Philosophise in Law? 291 / II. The State of Teaching Legal Philosophy 294 / III. The Philosophy of Teaching Legal Philosophy 296 / IV. Programme at the Catholic University of Hungary 300 [1. Graduate Studies 300 {a) Basic Subjects 301 / b) Facultative Seminars 305 / c) Closing Subjects 309 / d) Written Memoranda and the Thesis 312} 2. Postgraduate Studies 313 / 3. Conclusion 317] V. Perspectives 318 /// Index of Subjects 321 / Index of Normative Materials 328 / Index of Names 329 . (shrink)

What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of (...) something intrinsically negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the (...) artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when (...) a performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

When you type the word “serendipity” in a word-processor application such as Microsoft Word, the autocorrection engine suggests you choose other words like “luck” or “fate”. This correcting act turns out to be incorrect. However, it points to the reality that serendipity is not a familiar English word and can be misunderstood easily. Serendipity is a very much scientific concept as it has been found useful in numerous scientific discoveries, pharmaceutical innovations, and numerous humankind’s technical and technological advances. Therefore, (...) there have been many books written around the concept. So why do we need this additional book? This is not just another book about serendipity. It has evolved from the Editor’s question lingering for a decade after finishing his widely cited article (coauthored with Prof. Nancy K. Napier of Boise State University, ID, USA) “Serendipity as a strategic advantage?” in T. Wilkinson’s edited volume Strategic Management in the 21st Century, published by Praeger. The Editor and contributing authors have tried to achieve the following in this title. Demystifying the Serendipity Myth The phenomenon of serendipity has always been thought of as a “miracle”. It is the mystery of human innovation and one of the ultimate secrets of our society. But serendipity is not just a lucky coincidence nor any hidden conspiracy. This book explores the science of the information process behind this seemingly miraculous phenomenon. It connects human society with nature, going back to the root of our existence and looking at the flame of survival to discover the harmony in making creativity. Presenting the nuts and bolts of being an adventurer of science The authors present their conceptual investigations into serendipity’s nature and its mechanism by examining interesting real events and stories. The content is thought-provoking, and readers are led to question and explore their own life stories and problems along the journey of reading this book. Catching an elusive high-value target requires great strategies and efforts. But there are no dark secrets here because this is the “way of nature” – how we humans have always strived for innovation without realizing the blueprints behind such processes. Unlike other books on serendipity, this book will show you that a powerful “secret” is closer than you think. Delivering practical uses for different audiences By understanding the conditionality and survival drivers of serendipity, individuals or organizations can make better decisions on creating the right environment to facilitate the encounter and attainment of this valuable phenomenon. For scientists: With clear explanations of the information processes underlying serendipity, flexible theoretical frameworks of mindsponge and the 3D principle of creativity, researchers are provided with the tools they need to dig deeper into their own fields of study and find practical applications, be it psychology, economics, sociology, or anything that involves innovation (which is, in fact, every scientific discipline). For curious casual readers: Everybody needs innovation to make breakthroughs or spice up one’s life. If you think great ideas come to people randomly from an unknown fairy place, this book will convince you otherwise without taking away that awe and wonder. But above all, you will know how to become more creative, scientifically and straightforwardly, with no snake oil and no weird tricks. For ambitious business people: The flame that brought about great successes throughout human history is within you. But you can only use it if you understand it. While others wait for serendipity to come, you will be able to actively hunt for those precious moments. As it has always been: the best hunters triumph, not the passive wanderers. And in this age of information chaos, finding the golden fruits is not easy. Those from information technology know this problem well, and this book is the treasure map that they have been seeking to navigate that stormy ocean looking for jewels. Like a kingfisher tracking its prey through the water, waiting to gracefully strike, with serendipity, a person seizes the prize of creativity amid the chaos of life. ¤ ¤ ¤ Official introduction: The book explores the nature, underlying causes, and the information processing mechanism of serendipity. It proposes that natural or social survival demands drive serendipity, and serendipity is conditional on the environment and the mindset, on both individual and collective levels. From Darwin's evolution theory to Sun Tzu's war tactics, major innovations throughout human history are unified by this key concept. In the rapidly changing world, information is abundant but rather chaotic. The adaptive power of serendipity allows people to notice treasures within this wild sea, but only for those who understand how it works. To increase the probability of encountering and attaining serendipity, one should employ the mindsponge mechanism and the 3D process of creativity, for without these frameworks, serendipity is truly an elusive target. The book also discusses methods to build environments and cultures rich in navigational and useful information to maximize the chance of finding and capitalizing on serendipity. As a skill, serendipity has a resemblance to how kingfishers observe and hunt their prey. (shrink)

Manzotti (2021) surveys recent variants of identity theories, defending his own preferred version, mind-object identity theory (MOI). According to this view, experiences are identical with the external objects, and the mind is thus literally “spread” in the world. Manzotti supports this view with considerations about indiscernibility of properties and other theoretical considerations. He claims that brain-mind accounts of identity commit the “fallacy of the center,” locating conscious mind inside the skull. Amongst other recent works, he comments on our (Polák (...) and Marvan, 2018) article, in which we defended a standard, neurocentrist version of type identity theory, and supplemented it with a sketch of neuro-phenomenal typing. Manzotti holds that although we appeal to neuro-phenomenal types in our account of mind-brain identity, we nevertheless “lack a convincing explanation as to why the type of neural processes should be identical to the type of one's experience.” This is a fair point. We didn't do much in our 2018 article to support our views on the principles of neuro-phenomenal typing, either by detailed theoretical considerations or by empirical evidence. In this short rejoinder, we offer the missing argument. By doing so, we also respond both to Manzotti's cited objection and to the charge of the “fallacy of the center.” -/- . (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are (...) there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

I investigate why Frege rejected the theory of types, as Russell presented it to him in their correspondence. Frege claims that it commits one to violations of the law of excluded middle, but this complaint seems to rest on a dogmatic refusal to take Russell’s proposal seriously on its own terms. What is at stake is not so much the truth of a law of logic, but the structure of the hierarchy of the logical categories, something Frege seems to neglect. (...) To come to a better understanding of Frege’s response, I proceed to investigate his conception of the nature of the logical categories, and how it differs from Russell’s. I argue that, for Frege, our grasp of the logical categories cannot be severed from our grasp of the Begriffsschrift notation itself. Russell, on the other hand, attaches no such importance to notation. From Frege’s point of view, Russell has not succeeded in presenting an alternative conception of the logical hierarchy, since such a conception must go in tandem with the development of a notation. Moreover, Frege has good reasons to think that Russell’s proposal does not admit of a suitable notation. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not (...) disinterested or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman's own theory, but any broadly type versus token based account of notational structure.Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other (...) notational item. Such a view is strongly supported by the completely conventional relation between inscriptions and notation, as shown by encryption techniques etc. (shrink)

In this paper, I present a two-pronged argument devoted to defending the type-identity theory of mind against the argument presented by Kripke in _Naming and Necessity_. In the first part, the interpersonal case, I show that since it is not possible to establish the metaphysical conditions for phenomenal identity, it is not possible to argue that there can be physical differences between two subjects despite their phenomenal identity. In the second part, the intrapersonal case, I consider the possibility of (...) imagining one and the same individual having the same phenomenal state while counterfactually being in very different physical states. I argue that this case should respect Kripke’s implicit theory of personal identity—but this proves to be a very difficult task to accomplish, thus preventing the argument from getting off the ground. Therefore, I maintain, that the type-identity theory is still the better option to solve the mind–body problem. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted (...) in this paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

The history of philosophy is replete with attempts at invoking rationality as a means of directing and even subduing human desire and emotion. Understood as that which moves human beings to action, desire and emotion come to be associated with human freedom and rationality as a means of curbing that freedom. Plato, for instance, takes for granted a separation between thought and action that drives a wedge between our rational ability to exercise self-discipline and the free expression of desire and (...) emotion. Hobbes, on the other hand, replaces our internal ability for rational self-control with the external authority of the political State. So long as freedom and control are pitted against one another, human beings are incapable of attaining a symbiosis of these two elements of human action so essential to realizing true democracy. Unlike Plato, John Dewey sees in democracy the greatest potential for individual and social life. The purpose of this dissertation is to demonstrate how the educational philosophy of Dewey, which culminates in an educational aesthetic, appeals to and makes the most of the symbiosis of freedom and self-control, emotion and reason. Dewey’s educational aesthetic not only offers an alternative to traditional methods of education, but also demonstrates how the goal of a democratic way of life is made feasible by means of intelligently guided self-discipline—a form of self-control guided by intelligence that is not a constraint upon freedom, but instead embodies greater opportunity for freedom. I trace the basis for this synthesis, in the social-political and pedagogical principles of John Locke and Jean-Jacques Rousseau. Both Locke and Rousseau offer educational theories that begin turning our attention toward the essential partnership required of rationality and emotion. Dewey's educational aesthetic is then considered as a response to alienating forms of education that continue to pit control and freedom against one another, and which thwart the intellectual and emotional development necessary for autonomy and democratic forms of social organization. (shrink)

Talk of different types of cells is commonplace in the biological sciences. We know a great deal, for example, about human muscle cells by studying the same type of cells in mice. Information about cell type is apparently largely projectible across species boundaries. But what defines cell type? Do cells come pre-packaged into different natural kinds? Philosophical attention to these questions has been extremely limited [see e.g., Wilson (Species: New Interdisciplinary Essays, pp 187–207, 1999; Genes and the (...) Agents of Life, 2005; Wilson et al. Philos Top 35(1/2):189–215, 2007)]. On the face of it, the problems we face in individuating cellular kinds resemble those biologists and philosophers of biology encountered in thinking about species: there are apparently many different (and interconnected) bases on which we might legitimately classify cells. We could, for example, focus on their developmental history (a sort of analogue to a species’ evolutionary history); or we might divide on the basis of certain structural features, functional role, location within larger systems, and so on. In this paper, I sketch an approach to cellular kinds inspired by Boyd’s Homeostatic Property Cluster Theory, applying some lessons from this application back to general questions about the nature of natural kinds. (shrink)

In the domain of ontology design as well as in Knowledge Representation, modeling universals is a challenging problem.Most approaches that have addressed this problem rely on Description Logics (DLs) but many difficulties remain, due to under-constrained representation which reduces the inferences that can be drawn and further causes problems in expressiveness. In mathematical logic and program checking, type theories have proved to be appealing but, so far they have not been applied in the formalization of ontologies. To bridge (...) this gap, we present in this paper a theory for representing ontologies in a dependently typed framework which relies on strong formal foundations including both a constructive logic and a functional type system. The language of this theory defines in a precise way what ontological primitives such as classes, relations, properties, etc., and thereof roles, are. The first part of the paper details how these primitives are defined and used within the theory. In a second part, we focus on the formalization of the role primitive. A review of significant role properties leads to the specification of a role profile and most of the remaining work details through numerous examples, how the proposed theory is able to fully satisfy this profile. It is demonstrated that dependent types can model several non-trivial aspects of roles including a formal solution for generalization hierarchies, identity criteria for roles and other contributions. A discussion is given on how the theory is able to cope with many of the constraints inherent in a good role representation. (shrink)