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)

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)

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)

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)

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)

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 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)

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 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)

I discuss problems with Martin-Löf's distinction between analytic and synthetic judgments in constructive type theory and propose a revision of his views. I maintain that a judgment is analytic when its correctness follows exclusively from the evaluation of the expressions occurring in it. I argue that Martin-Löf's claim that all judgments of the forms a : A and a = b : A are analytic is unfounded. As I shall show, when A evaluates to a dependent function type (...) (x : B) → C, all judgments of these forms fail to be analytic and therefore end up as synthetic. Going beyond the scope of Martin-Löf's original distinction, I also argue that all hypothetical judgments are synthetic and show how the analytic-synthetic distinction reworked here is capable of accommodating judgments of the forms A type and A = B type as well. Finally, I consider and reject an alternative account of analyticity as decidability and assess Martin-Löf's position on the analytic grounding of synthetic judgments. (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)

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)

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)

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.

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)

Sometimes, art theory addresses the same type of image from discursive disparity. This is the case of the portrait, whose imprecise definition complicates its conceptual and formal definition within the limits of the Western culture. Although this text does not intend to resolve doubts about one of the most significant questions in art—even the question of art, if portraits are born with it—it does attempt to show the difficulties in reaching an agreement on the conventions that define it, from (...) its antecedents in Antiquity and its establishment in modern times, up to the advent of its contemporary crisis that some authors attribute to the saturation suffered by the image in mass society, and others, to the new artistic paradigm that is imposed from Impressionism onwards. (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)

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)

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)

Generative AI systems like ChatGPT and Midjourney can produce prose or images. But can they produce art? I argue that this question, though natural and intriguing, is the wrong one to ask. A better question is this: can generative AI yield distinct or novel forms of aesthetic value? And I argue that the answer is yes. Generative AI can be used to put us in contact with the artificial sublime – a type of aesthetic value that Kant famously argues (...) is impossible. Kant claims that sublimity (a fusion of trepidation and wonderment) can only arise from encounters with nature, or perhaps close artistic depiction of natural scenes. I show how generative AI can yield encounters both with incalculable profundity (Kant’s mathematical sublime) as well as overwhelming moral chaos (Kant’s dynamical sublime). There are lessons not only for art criticism, but also for the philosophical theory of value. (shrink)

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, and Susan (...) Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

Why should musical compositions and artistic images be included among the types of expression covered by free speech principles? One way to answer this question is to show how expression in nonverbal media can be functionally similar to other types of verbal expression. But this leaves us with an intuitively unsatisfying explanation of why free speech principles cover nonverbal creative expression that does not functionally emulate literal speech. In this article, as an alternative justification, we develop and defend the (...) idea that musical and pictorial expression‚ much like literal speech, can be media through which people think aloud, as opposed to mere tools for the transmission of thought. We use this proposal to provide a more robust justification for including nonverbal creative expression in the scope of free speech coverage, and we outline some of the practical policy implications that come with adopting this justificatory strategy. (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)

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)

This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I continue (...) with an outline of Stiegler's, for whom the role of artists is to sculpt a new culture and historical epoch called the Neganthropocene. Finally, the notion of "work" as a type of memory practice is analyzed. The comparison shows that Stiegler develops epigenetics phenomenologically via memory ("tertiary retentions") and phylogenetics to epiphylogenetics. Both philosophers argue against determinism. This study suggests that their key ideas advance and complement each other. (shrink)

Kant’s conception of nature’s having a “purposiveness without a purpose” was quickly picked by the Romantics and made into a theory of art as revealing the otherwise hidden unity of nature and freedom. Other responses (such as Hegel’s) turned instead to Kant’s concept of judgment and used this to develop a theory that, instead of the Romantics’ conception of the non-discursive manifestation of the absolute, argued for the discursively articulable realization of conceptual truths. Although Hegel did not argue for the (...) “end of art” (although it is widely held that he did just that), he did, curiously enough, claim that it is art and not philosophy which tells us about the “life” of agents. To see how he reconciles that claim with his otherwise entirely discursively oriented philosophy, it is necessary to look at his thesis of the end of art’s “absolute” importance. Hegel’s worries have to do with the impossibility of fully exhibiting the “inner” in the “outer” in modern art and with the newly emerging problem of “fraudulence” in the poet’s voice. This is illustrated by examples drawn from the history of music and the problems besetting the lyric poet in modern life. Because of these problems, we are, Hegel says, now “amphibious animals” having to live in different and seemingly incompatible worlds. Hegel’s student, Heinrich Heine, found that the only satisfactory way of responding to this was for the modern artist to adopt a distinctive type of irony in response to the Hegel’s worries about modern art. This form of irony, it is argued, is itself Hegelian in spirit. (shrink)

Pseudo-profound language is a stylistic means in many different contexts, like advertising, politics, economics, or even science. Contemporary visual art is notoriously known for its variant: artspeak. We develop a syntactical analysis and show how artspeak is constructed. We point out that it is “evocative” bullshit in that it aims at contextualizing art with traditional art myths (i.e., artists are, among other adjectives, autonomous, critical, or free). Furthermore, we argue that artspeak should be regarded as a particular type of (...) bullshit as it features a unique relation to truth. (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)

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 .

About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. -/- "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears (...) out the old to make way for the new." (Steve Jobs) -/- CONTENTS: -/- Death - Philosophy of death - Religions - - Animism - - Atheism - - Buddhism - - Christianity - - Hinduism - - Islam - - Jainism - - Jehovah's Witnesses - - Judaism - - Latter-day Saints - - Spiritism - Symbolism - Personification of Death - - Notable personifications - - In mythologies - - - Hindu mythology - - - In Japan - - - Slavic paganism - - - Lithuanian paganism - - In the three monotheistic religions - - - Judaism - - - Christianity - - - In Mexico - - - Islam - Axiochos - - The characters of dialogue - - Dialogue - - Prologue - - Arguments - - Citations - Paradise - - Greco-Roman mythology - - Mesopotamian mythology and influences - - According to Judaism - - According to Christianity - - - According to Catholicism - - - According to Protestantism - - - According to the Church of Jesus Christ of Latter-day Saints - - According to Islam - - According to Hinduism - - According to modern spiritualities - - - According to the esoteric - Hell - - Mesopotamian origins - - According to Christianity - - - Names appearing in the biblical texts - - - Medieval artistic representations - - - Concepts according to Christian movements - - According to Judaism - - According to Islam - - According to Buddhism - - According to Hinduism - - According to modern esotericism - - - According to Aïvanhov - - - According to Allan Kardec - - Philosophy - - - Jewish Kabbalah - - - Sartre - - - Popular wisdom Funerals - The funeral ritual: a rite of passage - Prehistory - Ancient death customs - - The family bereavement - - Mummification - - Sarcophagi - - Funerals - - Ancient Greece - - Ancient Rome - - Celts, Germans and Scandinavians - Religious funeral rites - - Buddhism - - Judaism - Christianity - - Protestantism - - Islam - Funeral rites by continent - - In Africa - - In Europe - The contemporary era - Mourning (Grief) - - Steps - - - Death of a close - - Loss events without mourning value (white factors) - - Duration and manifestations - - Risks - - Colors - Graveyards (Cemeteries) - - First cemeteries - - Cemeteries today - Funerary art - Dolmens - - Types of dolmens - - Function - - Location - Passage graves - Cenotaphs - - Famous cenotaphs - Lanterns of the Dead Afterlife - History - Questions about death and immortality - Testimonials - - Spiritualistic experiences - - Popular literature on the afterlife - - "Memories" and reminiscences - - Early studies of the science of the 19th century and early 20th century - Types of scenarios - Some religious and philosophical concepts - - Afterlife in Buddhism - - Afterlife in Christianity - - According to Hinduism - - According to Islam - - According to Judaism - - According to Mormonism - - According to the ancient philosophies - - According to Spiritism - - According to Native American traditions - - According to Vedism - - According to Esotericism - In science - Near-death experiences - - Clinical death - - NDE frequency - - Effects of depth of NDE on survival - - Near-death experiences and shared-death experience - - - The first contemporary testimonials - - - Experience according to Moody - - - The concept of "shared death" - - - The NDE scales - - The study of Pim van Lommel - - Spiritual and patient point of view - - - Survivalists studies - - - The religious understanding of the phenomenon - - Scientific views - - - Physiological explanation - - - Psychological explanation - Reincarnation - - Religions - - - In Hinduism - - - In Jainism - - - In Buddhism - - - In Judaism - - - In Christianity - - - In Islam - - In contemporary times - - - Esotericism - - - Works of the psychiatrist Ian Stevenson - - - Radical increase in life expectancy and artificial reincarnation - - Criticism - - - Arthur Schopenhauer - - - Ramana Maharshi - - - Rene Guenon - - - Ananda Kentish Coomaraswamy - Metempsychosis - - Theories - - Ideas - Maschalismos Immortality - Immortality of the soul and religious traditions - - Buddhism - - Christianity - - Islam - - Mormonism - Contemporary perception of the immortality of the body - - Observation in the animal kingdom - - Perspectives for mankind - Immortality in science - - Alexis Carrel - - Jean Rostand - - Hayflick limit - - Étienne-Émile Baulieu and DHEA - - Aubrey de Grey - - Professor Skulachev - - Regenerative medicine - - Professor Christopher Jaeger - Eternal Return - - According to the Mesopotamians - - According to Heraclitus and the Stoics - Fountain of Youth - - History of myth and relatives myths - - - In Roman mythology, Germanic, Celtic and Irish - - - In the Middle-East - - - In Spain - - - In the Bible - - The fountain in art and literature - - Painting - - - Literature and cinema - - Persistent of the myth until today - Senescence - - Why do we age? - - Gene regulation - - Cellular senescence Undead - Ghoul - Lich - Mummy - Skeleton - Vampire - Zombie - Other legendary creatures - Creatures specific to a particular universe - Spiritism - - Point out - - Origins of spiritism - - - The traditions through the ages - - - Advent of Christianity in Europe - - - The survival of necromancy - - - The precursors - - - Relations of spiritualism to science - Mediumship - - History - - Skeptical point of view - - Favorable doctor's viewpoint - Ghosts - - Appearance - - Belief in ghosts - - Origin - - - Duality and return dead - - - Ancient roots - - Typology - - - Poltergeists - - - Revenants - - - Ghosts - - - Banshees - - - Apparitions of crisis - - - Phantasms of the living - - - Vision of his own double - - - Ghost armies - - - Ghosts of animals - - - Means of transport - - Science perspective - - - Hallucinations - - - Sleep paralysis - - - Induced ghosts - - - Aches and infrasounds - - - Magnetic fields - Vampires - - Characteristics - - - Vampire transformation - - - Identification - - - Faculties - - Protection against the vampires - - - Precautions at death and burial - - - Apotropaic objects and places - - Destruction of vampires - Zombie - - The concept - - Africa and voodoo - - - West Africa - - - South Africa - - - In Haiti (and the Caribbean) - - - Scientific research - - The "revenants" in the Western imaginary Death in art - Memento mori - - History - - - Antiquity - - - Christianity - - - Mexican syncretism - - Performing arts - - - In painting - - - In literature - - - In movies - - - In video games - - - In Japanese animation - - - In music - The iconography of Weighing of souls (Particular judgment) - - Origin - - Written sources - - Weighing in Romanesque art - - Weighing in Gothic art - - Weighing in the late Middle Ages: to a new iconography - - Weighing of souls or actions? - Poems - - Charlotte Brontë, “On the Death of Anne Brontë” - - Edgar Allan Poe, “Annabel Lee” - - Edna St. Vincent Millay, “And you as well must die” - - Emily Dickinson, “Because I could not stop for Death” - - Emily Dickinson, “If I Should Die” - - Lord Byron, “Epitaph to a Dog” - - Pablo Neruda, “Only Death” - - Stephen Crane, “God Lay Dead in Heaven” - - W. B. Yeats, “He Wishes His Beloved Were Dead” - - Rainer Maria Rilke, “Death” - Paintings - - The Three Dead Kings - - The Death of Nelson - - Beata Beatrix - Sculptures - - The Kiss of Death - - Background - - Imagery - - Angel of Grief - - Fallen Astronaut - Quotes References About the author - Nicolae Sfetcu - - By the same author - - Contact Publishing House - MultiMedia Publishing -/- DOI: 10.58679/TW44411. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be compared (...) to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (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 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.

Plato drew on the philosophical work of some of his predecessors, especially Socrates, but also Parmenides, Heraclitus, and Pythagoras, to develop his own philosophy, which explores most important fields, including metaphysics, ethics, aesthetics, and politics. With his professor Socrates and his student Aristotle, he laid the foundations of Western philosophical thought. Plato is considered one of the most important and influential philosophers in human history, being one of the founders of Western religion and spirituality. The philosophy he developed, known as (...) Platonism, is based on the theory of Forms known by pure reason as a solution to the problem of universals. Plato's philosophy is in line with the pre-Socratics, sophists and artistic traditions that underlie Greek education, in a new framework, defined by dialectics and the theory of Ideas. For Plato, knowledge is an activity of the soul, affected by sensible objects, and by internal processes. In The Republic of Plato, the highest form is considered to be the Form of Good, the source of all other Forms that could be known by reason. The central theme of the book is justice, argued with the help of several Platonic theories, including the allegorical myth of the cave, the doctrine of ideas, dialectics, the theory of the soul, and the design of an ideal city. His dialectic is a type of knowledge, with an ontological and metaphysical role, which is reached by confronting several positions to overcome opinion (doxa), a shift from the world of appearances (or "sensible") to intellectual knowledge (or " intelligible ”) to the first principles. Plato's educational model (paidèia) differentiates the level of education according to the students' skills. According to Socratic principles, in order to do justice, one must know what is good, and this is best known to the philosopher. Plato detailed this concept, highlighting the distinction between the philosopher (who seeks the principles of truth without claiming to possess it) and the sophist (who lets himself be guided by opinion as the only valid parameter of knowledge). -/- CONTENTS -/- Plato - Biography - Travels - Socrates - Academy - Plato's work - - Classifications of works - - - Chronological - - - Tetralogy - - - Trilogies - - - Lexical grouping Plato's philosophy - Soul - The function of the myth - Ideas - Theory of Forms - Ontology - Epistemology - Ethics - Politics - The philosophical state - Art - Unwritten doctrines: One and the Dyad The Republic - Characters - Summary - Topics - - Justice and righteousness (Book I) - - The Ideal State (Books II-III) - - The city-soul analogy. Harmony of the parties (Books IV-V) - - Form Theory (Metaphor of the Line and the Myth of the Cave, Books VI-VII) - - Family and State (Books VIII-IX) - - Myth of Er (Book X) Dialectics Education Philosopher-king Bibliography -/- DOI 10.13140/RG.2.2.29990.19520 . (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)

What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...) art without any artefact at all? In the late '50sand early'60s in Paris, Andy Warhol and Yves Klein claimin different butvery similar ways the end of painting and the disappearing of the work of art from the exposition site and its becoming immaterial or environmental art, indiscernible within its surrounding living space and, finally, with the atmosphere of glamour and snobbish artist’s life. What kind of phenomenology, pragmatic, rhetoric, poetics, economy and ontology is possible when nospectatorialmode of visual consumption is any longer possible? What type of aesthetic relationship actually happens under these planned and produced conditions of non-perceptual and ‘artialized’ living experience? After more than fifty years, the statements of The philosophy of Andy Warhol and the Exposition of void of Yves Klein have not yet stopped to pose questions as such to aesthetics, theory of literature and critics, and to the history of art. (shrink)

This study examines problems related to the representation of music. It constructs the sender/message/perceiver/result model, a prototype broad enough to incorporate a large variety of music and other notation systems, including those having to do with computers. The work defines music notation itself, describes various models for studying the subject--including the binary types prescriptive/descriptive, and symbolic/iconic--and assesses music notation as a contemporary practice. It encompasses a review of the actions and intentions of composers, performers, and audiences, and a consideration of (...) the message and how it is affected by media , reference systems , and meanings. Finally, through an examination of the possibilities of the self acting as a notation system within models posited by feminist and queer theory, I attempt to demonstrate the power of notation to affect other systems and worlds, including the worlds of music, art, and politics. ;The consideration of these topics draws on theories from linguistics, semiotics, structuralism, post-structuralism, cybernetics, and music, as well as the philosophies of John Cage, Jean-Jacques Nattiez, Nelson Goodman, and others. The work examines various languages and applications used to program computers for musical purposes, though this examination does not incorporate programs dedicated exclusively to printing music. Nor does the study focus on non-Western notations, suggestions for reforms of notation, or encyclopedic lists of notation devices. ;The expository writing is augmented by excerpts from material I gathered in numerous interviews. There are separate sections containing interviews of Leonard Meyer, Allan Kaprow, John Cage, Earle Brown, Roger Reynolds, and Heidi von Gunden. There is also a large, partially-annotated bibliography. ;My hope is that an inclusive, interdisciplinary exploration of music notation will be useful in broadening the theoretical and creative boundaries of the field, as well as bridging gaps among musicians using various music technologies, and artists and theorists from diverse fields and perspectives. (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)

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)

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)

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)

Commonplace syntactic constructions in natural language seem to generate ontological commitments to a dazzling array of metaphysical categories - aggregations, sets, ordered n-tuples, possible worlds, intensional entities, ideal objects, species, intensive and extensive quantities, stuffs, situations, states, courses of events, nonexistent objects, intentional and discourse objects, general objects, plural objects, variable objects, arbitrary objects, vague kinds and concepts, fuzzy sets, and so forth. But just because a syntactic construction in some natural language appears to invoke a new category of entity, (...) are we theoreticians epistemically justified in holding that there are such entities? This would hardly seem sufficient. To be epistemically justified, the ontology to which we theoreticians are committed must pass strict standards: the entities must be of the sort required by our best comprehensive theory of the world. The thesis of this paper is that fine-grained type-free intensional entities are like this. If the thesis is right, these entities have a special objective status perhaps not possessed by some of the other ontological categories associated with special syntactic constructions in natural language. In fact, it is plausible to hold that fine-grained type-free intensional entities provide the proper minimal framework for constructing logical and linguistic theories. In this paper my strategy will be to survey the competing conceptions of fine-grained type-free intensionality and to present arguments in support of one of them. Following this narrowing down process, I will go on to the indicated epistemological considerations. (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)

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)

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)

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)