Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the division between iconic memory and VWM (...) by arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us (...) with opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

Consulting early and medieval Christian thinkers, I theologically analyze the question of how we are to construe and live well with the sociable robot under the ancient theological concept of “glory”—the manifestation of God’s nature and life outside of himself. First, the oft-noted Western wariness toward robots may in part be rooted in protecting a certain idea of the “person” as a relational subject capable of self-gift. Historically, this understanding of the person derived from Christian belief in God the Trinity, (...) an eternally relational and self-giving God who has created all other things. According to this trinitarian anthropology, the “glory” of God is the manifestation of his life outside of himself, especially in human relationships of self-possessed empathic self-giving. Second, the material world can be drawn into this glorification of God by the invention of technologies, including robots. For Christianity, the personal transcends the material, and matter cannot simply be recombined to make a person. Nonetheless, the material world is a lesser glory that echoes fragmentarily the primal self-gift by which God exists. Human persons can marshal these material powers to serve the personal by the invention of technology, which extends the possibilities of human self-giving and, therefore, of God’s “glory.” Third, this Christian account of creation and technology shapes medieval Christian writings on humanoid robots. These “automata” uniquely draw together nature’s deep powers, but they lack true personal interiority and so cannot give themselves. Instead, they are instruments by which humans’ own relational personhood can be developed or degraded. At best, a robotic image of personhood can serve as an “icon,” directing us back to the relationality by which humans echo God. At worst, robots serve as “idols” when they become substitutes for human companions, drawing their users into a utilitarian frame that excludes self-gift by simply mirroring back to the user his or her own aims. I illustrate these outcomes by two medieval legends. In one, robots function iconically as social facilitators; in the other, as ambiguous romantic partners. And fourth, looking to an actual renaissance-era “praying” robot, I will propose that the non-subjective robot might yet “glorify God” within the religious community by representing the prayers of particular humans—thus iconically standing for rather than idolatrously standing in for the relational subject. (shrink)

It is common to distinguish two great families of representation. Symbolic representations include logical and mathematical symbols, words, and complex linguistic expressions. Iconic representations include dials, diagrams, maps, pictures, 3-dimensional models, and depictive gestures. This essay describes and motivates a new way of distinguishing iconic from symbolic representation. It locates the difference not in the signs themselves, nor in the contents they express, but in the semantic rules by which signs are associated with contents. The two kinds of rule have (...) divergent forms, occupying opposite poles on a spectrum of naturalness. Symbolic rules are composed entirely of primitive juxtapositions of sign types with contents, while iconic rules determine contents entirely by uniform natural relations with sign types. This distinction is marked explicitly in the formal semantics of familiar sign systems, both for atomic first-order representations, like words, pixel colors, and dials, and for complex second-order representations, like sentences, diagrams, and pictures. (shrink)

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures (...) its ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

The icon is the type of sign connected to efficient representational features, and its manipulation reveals more information about its object. The London Underground Diagram (LUD) is an iconic artifact and a well-known example of representational efficiency, having been copied by urban transportation systems worldwide. This paper investigates the efficiency of the LUD in the light of different conceptions of iconicity. We stress that a specialized representation is an icon of the formal structure of the problem for which it (...) has been specialized. By embedding such rules of action and behavior, the icon acts as a semiotic artifact distributing cognitive effort and participating in niche construction. (shrink)

The overflow debate concerns this following question: does conscious iconic memory have a higher capacity than attention does? In recent years, Ned Block has been invoking empirical works to support the positive answer to this question. The view is called the “rich view” or the “Overflow view”. One central thread of this discussion concerns the nature of iconic memory: for example how rich they are and whether they are conscious. The first section discusses a potential misunderstanding of “visible persistence” in (...) this literature. The second section discusses varieties of attention relevant to this debate. The final section discusses the most prominent alternative interpretation of the Sperling paradigm—the postdiction interpretation—and explains how it can be made compatible with a weaker version of the rich or overflow view. (shrink)

This paper refines a controversial proposal: that core systems belong to a perceptual kind, marked out by the format of its representational outputs. Following Susan Carey, this proposal has been understood in terms of core representations having an iconic format, like certain paradigmatically perceptual outputs. I argue that they don’t, but suggest that the proposal may be better formulated in terms of a broader analogue format type. Formulated in this way, the proposal accommodates the existence of genuine icons in perception, (...) and avoids otherwise troubling objections. (shrink)

St. Maximus the Confessor claims that the logos of created beings represents their essence as an icon. This claim gives us the opportunity to understand the term essence as an dynamic reality and not as a static given. Essence is not something that the being is, but what it is supposed to be. The idea of icon is herein present as ultimately ontological. The icon is no mirror of reality, but rather its eschatological realization. That which will be uncovers the (...) truth of the being. This way, St. Maxius has founded a dynamic ontology, which is a fundamental step away from the Hellenic heritage. The equalization of the essence of beings and icon is only possible in an Eucharistic view of the world, wherein the Eucharist represents in an iconic way the presence of the eschatological truth in history. (shrink)

Evidence from cognitive science supports the claim that humans and other animals see the world as divided into objects. Although this claim is widely accepted, it remains unclear whether the mechanisms of visual reference have representational content or are directly instantiated in the functional architecture. I put forward a version of the former approach that construes object files as icons for objects. This view is consistent with the evidence that motivates the architectural account, can respond to the key arguments against (...) representational accounts, and has explanatory advantages. I draw general lessons for the philosophy of perception and the naturalization of intentionality. (shrink)

Je défends ici la nécessité, et ébauche une première version, d’une théorie iconique des propositions. Selon celle-ci, les propositions sont comme les objets de représentation, ou similaires à eux. Les propositions, suivant cette approche, sont des propriétés que l’esprit instancie lorsqu’il modélise le monde. Je connecte cette théorie aux récents développements de la littérature académique sur les propositions, ainsi qu’à une branche de recherches en sciences cognitives, qui explique certains types de représentations mentales en termes d’iconicité. I motivate the need (...) for, and then sketch, an iconic theory of propositions according to which propositions are like or similar to their objects of representation. Propositions on this theory are properties that the mind instantiates when it models the world. I connect the theory to recent developments in the propositions literature as well as to a strain of cognitive science that explains some kinds of mental representation in terms of iconicity. (shrink)

Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...) for ‘radioactivity’ just as much as for ‘responsibility’. To unambiguously show a categorial relation like causality or a logical feature like negation in an image borders on the impossible. (The aspiration to symbolize or manifest the invisible, though, has long inspired artistic images.) Pictures are accessible to the illiterate; while a language must be learned, an image seems to admit everyone. Yet that is in part an illusion. Obviously, it is not enough to see an image. To understand it, however, often a number of things must have been learnt in the first place, too. (shrink)

Tagging is the phenomenon in which regions of a picture, map, or diagram are annotated with words or other symbols, to provide descriptive information about a depicted object. The interpretive principles that govern tagged images are not well understood, due in part to the difficulty of integrating pictorial and linguistic semantic rules. Rather than directly combining these rules, I propose to use the framework of perspectival feature maps as an intermediary representation of content, in which the outputs of pictorial and (...) linguistic interpretation may be assimilated. The result is a simple and compositional semantics for tagged images. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

Charles Peirce's diagrammatic logic — the Existential Graphs — is presented as a tool for illuminating how we know necessity, in answer to Benacerraf's famous challenge that most ‘semantics for mathematics’ do not ‘fit an acceptable epistemology’. It is suggested that necessary reasoning is in essence a recognition that a certain structure has the particular structure that it has. This means that, contra Hume and his contemporary heirs, necessity is observable. One just needs to pay attention, not merely to individual (...) things but to how those things are related in larger structures, certain aspects of which relations force certain other aspects to be a certain way. (shrink)

What is the relationship between myths and the iconic? This paper analyzes a dialogue from an R.K. Narayan novel which suggests a criterion for belonging to a natural kind in the world of myth, a criterion which makes reference to the iconic.

Human vision briefly retains a trace of a stimulus after it disappears. This trace—iconic memory—is often believed to be a surrogate for the original stimulus, a representational structure that can be used as if the original stimulus were still present. To investigate its nature, a flicker-search paradigm was developed that relied upon a full scan (rather than partial report) of its contents. Results show that for visual search it can indeed act as a surrogate, with little cost for alternating between (...) visible and iconic representations. However, the duration over which it can be used depends on the type of task: some tasks can use iconic memory for at least 240 ms, others for only about 190 ms, while others for no more than about 120 ms. The existence of these different limits suggests that iconic memory may have multiple layers, each corresponding to a particular level of the visual hierarchy. In this view, the inability to use a layer of iconic memory may reflect an inability to maintain feedback connections to the corresponding representation. (shrink)

I meccanismi di produzione della guerra durante la pace e il circolo chiuso vittima/carnefice gestito dal potere.

Charles Peirce famously divided all signs into icons, indices and symbols. The past few decades have seen mainstream analytic philosophy broaden its traditional focus on symbols to recognise the so-called essential indexical. Can the moral now be extended to icons? Is there an “essential icon”? And if so, what exactly would be essential about it? It is argued that there is and it consists in logical form. Danielle Macbeth’s radical new “expressivist” interpretation of Frege’s logic and Charles Peirce’s existential graphs (...) are mobilized in support of this claim. (shrink)

Charles S. Peirce’s semiotics uniquely divides signs into: i) symbols, which pick out their objects by arbitrary convention or habit, ii) indices, which pick out their objects by unmediated ‘pointing’, and iii) icons, which pick out their objects by resembling them (as Peirce put it: an icon’s parts are related in the same way that the objects represented by those parts are themselves related). Thus representing structure is one of the icon’s greatest strengths. It is argued that the implications of (...) scaffolding education iconically are profound: for providing learners with a navigable road-map of a subject matter, for enabling them to see further connections of their own in what is taught, and for supporting meaningful active learning. Potential objections that iconic teaching is excessively entertaining and overly susceptible to misleading rhetorical manipulation are addressed. (shrink)

This paper traces the role of American technocrats in popularizing the notion later dubbed the “technological fix”. Channeled by their long-term “chief”, Howard Scott, their claim was that technology always provides the most effective solution to modern social, cultural and political problems. The account focuses on the expression of this technological faith, and how it was proselytized, from the era of high industrialism between the World Wars through, and beyond, the nuclear age. I argue that the packaging and promotion of (...) these ideas relied on allegorical technological tales and readily-absorbed graphic imagery. Combined with what Scott called “symbolization”, this seductive discourse preached beliefs about technology to broad audiences. The style and conviction of the messages were echoed by establishment figures such as National Lab director Alvin Weinberg, who employed the techniques to convert mainstream and elite audiences through the end of the twentieth century. (shrink)

This paper suggests that reference to phenomenal qualities is best understood as involving iconicity, that is, a passage from sign-vehicle to object that exploits a similarity between the two. This contrasts with a version of the ‘phenomenal concept strategy’ that takes indexicality to be central. However, since it is doubtful that phenomenal qualities are capable of causally interacting with anything, indexical reference seems inappropriate. While a theorist like David Papineau is independently coming to something akin to iconicity, I (...) think some of the awkwardness that plagues his account would be remedied by transitioning to a more inclusive philosophy of signs. (shrink)

Aquinas claims that ‘He Who Is’ is the most proper of the names we have for God. But this attempt to ‘describe’ God with a philosophical concept like ‘being’ can seem dangerously close to creating a false conception based on our limited understanding – an idol. A dominant criticism of Aquinas’ use of this term is that any attempt to use ‘being’ to describe God will inevitably make him merely some object in our ontology alongside other beings, unacceptably mitigating God's (...) radical transcendence and otherness. I will argue that Aquinas has a very creative response to this charge: ‘being’ stands in a unique relationship as the only concept that can ensure we do not draw God under some particular creaturely limit and thus use divine names to create an ‘idol’. In other words, ‘being’ is a special paradigm concept/term which ensures that we preserve humility in our attempts to name God. -/- . (shrink)

This article explores the relationships between crime, collective responses to it, and the social production of so-called great criminals. It argues that crime, especially sexual and violent crime, produces significant imbalances in individuals habitually subject to instrumental actions, identitarian thinking and positive law. These imbalances are emotional as well as cognitive and, under certain conditions of communication, can generate states of multitude, that is, collective states linked to an intense affectivity and to the prevalence of mythic or symbolic thinking. These (...) states reach their limits and become condensed in the mytho-historical figure of the great criminal. In this sense, great criminals are a function of such multitudinous states: points of imputation that concentrate and catalyze the affective imagination unleashed by collective effervescence. (shrink)

In the thesis a description of the other person as a phenomenon of icon in thinking of a contemporary French philosopher Jean-Luc Marion is researched. A question is raised how the icon (as Marion describes it) can be recognized in the face of the other. A notion of “iconic visibility” is accepted and employed to study how phenomenal “structure” of the first icon – Christ – repeats itself in the face of the other. Main features allowing to interpret the face (...) as the icon from the phenomenological and not theological point of view are displayed. “Subject” capable of recognizing the icon is researched in detail. It is argumented why the gifted should not be considered to be a passive object-like givee and why the other is not the only active subject-like pole of the phenomenon. Features of Marion’s conception of the icon which determine the initial lack of evidence of the phenomenon are disclosed. It is shown that the difficulty of recognition of the icon is inherent to the description of the phenomenon. The role of the phenomenon of love for the appearing of the icon is highlighted and Marion’s conception of love is discussed. A possibility to demonstrate the icon as a final and inevitable interpretation of the face of the other was not found. It is reasoned that the possibility of such demonstration is prohibited in the very definition of the phenomenon. In spite of that it was shown how such a phenomenon may appear, therefore, lack of proof does not deny the possibility of appearing. (shrink)

The Traslación of the Black Nazarene in Quiapo, Philippines conducts its rites and practices as a devotion outside the liturgy of the Catholic Church. As a popular religious practice widely known and attended by millions, it has become considered a religious phenomenon, attesting to the religiosity of Filipinos and their patient endurance for God. However, this religious practice is also condemned as idolatry, as one finds with reference to the golden calf in Exodus 32:4. In this paper, I create an (...) apologia for this devotion using Jean-Luc Marion’s concept of the icon. To do this I will first describe the various critiques of idolatry and iconography within the church and consider some of the negative interpretations of this devotion. Then I will consider the Traslación in relation to Marion’s project. Finally, I will present the apologia itself. This paper provides a defense of various kinds of Filipino devotion which addresses the idolatry critique and respects the rich religiosity of these devotions. (shrink)

Brand image constitutes one of the most salient, over-defined, heavily explored and multifariously operationalized conceptual constructs in marketing theory and practice. In this Chapter, definitions of brand image that have been offered by marketing scholars will be critically addressed in the context of a culturally oriented discussion, informed by the semiotic notion of iconicity. This cultural bend, in conjunction with the concept’s semiotic contextualization, are expected both to dispel terminological confusions in the either inter-changeable or fuzzily differentiated employment of (...) such terms as brand image, symbol, icon, as well as to address the function of brand image at a deeper level than a mere construct to be operationalized in quantitative studies of purchase drivers. This shift in focus is coupled with a critical turn from the cogito-centric view of the consuming subject through the cognitivist lens of the AI metaphor as decision-making centre at the origin of largely conscious meaning-making, in favor of a psychoanalytically informed approach that considers figurativity as an essential process whereby brand image is formed. In these terms, brand image will be intimately linked to brand images as figurative multimodal expressive units and rhetorical tropes, as figurative syntax, that are responsible for shaping an idiolectal brand language, as well as to distinctive levels of iconicity as textual condition of possibility of a brand language. In order to understand the role of iconicity as fundamental condition of brand textuality, rather than just a procedure for spawning brand images, the discussion is contextualized in a wider framework involving the culturally situated source of brand images, how they become correlated with brand image concepts and how correlations between brand images and brand image result in brand knowledge structures (Keller 1998). This opening up of the discussion on iconicity is enacted against the background of what I call the Brand Imaginarium which involves: (i) a critical engagement with the dominant cognitivist perspective in branding research that prioritizes individual memory in brand knowledge formation, through a cultural branding lens that involves two additional types of memory, viz. communicative and cultural (ii) a critical engagement with the cognitivist perspective on brand knowledge formation that prioritizes conscious processing of stimuli (as ‘brute facts’, rather than as already semiotized expressive units) in a cognitive mechanism from which the faculty of imagination has been expelled, by restoring the importance of imagination in brand knowledge formation, and, concomitantly, by showing that the highly figurative language of brands may not be researched thoroughly unless imagination is posited anew as processing correlate (iii) the adoption of an expansionist approach to the role of the imaginary in brand knowledge formation, from cognitive (or psychic) faculty, to a more sociologically inclined process of inter-subjective mirroring, and concomitantly as imaginary social significations (Castoriades 1985) that are shared by culturally conditioned and habituated subjects that engage in meaningful cultural practices, rather than individual processing monads. (shrink)

Since antiquity, scholars have observed a structural tension within Plato’s Phaedrus. The dialogue demands order in every linguistic composition, yet it presents itself as a disordered composition. Accordingly, one of the key problems of the Phaedrus is determining which—if any—aspect of the dialogue can supply a unifying thread for the dialogue’s major themes (love, rhetoric, writing, myth, philosophy, etc.). My dissertation argues that “soul-leading” (psuchagōgia)—a rare and ambiguous term used to define the innate power of words—resolves the dialogue’s structural tension. (...) I clarify the conceptual and dramatic features of soul-leading by focusing on the dialogue’s uniquely prevalent use of the semantic network of “leading” and “following.” By continuing to foreground the language and drama of leading and following, I offer a new interpretation of the dialogue as a whole: the Phaedrus is Plato’s articulation of how the soul can be led into communion with reality. Chapter 1 discusses scholarly disputes about the unity of the Phaedrus and proposes that soul-leading adequately satisfies the criteria put forward for what would count as a unifying element. I argue that soul-leading unifies the dialogue both thematically and non-thematically; moreover, soul-leading is a theme capacious enough to account for the other principal contenders for unity put forward. Chapter 2 develops the ambiguous character of soul-leading by examining how the dialogue showcases dangerous forms thereof. Love and language are dangerous when they lead the soul toward goods which can never truly fulfill it. In order to clarify how love and language can mislead the soul, Socrates develops a set of accounts of how the soul is led, both internally and externally, in the three speeches on love. If the soul is to be led into communion with reality (the proper end of soul-leading), it must be led internally by the right part of the soul and externally by the right object of desire. Chapter 3 argues that all souls can, in principle, be harmonized and directed in the way that Chapter 2 requires. I show that Plato’s view of philosophy is neither elitist (i.e., some are intrinsically incapable of philosophy) nor naively essentialist. All can come into communion with reality because all are by nature equipped to do so. While Plato recognizes that there are forces which tend to prohibit one from exercising one’s capability of being rightly led, none of them are intrinsic to human nature. Chapter 4 argues that successful soul-leading require neither the leader nor the follower to be already well-disposed to what’s ultimate in order for the pair to come to a communion with what’s ultimate. Plato’s depiction of soul-leading love shows that love can itself promote the formation needed for both leader and follower to come into contact with reality. Love can do so because it is always already bound up reality in its responsiveness to beauty. Beauty itself calls the lover to itself by shining through the beautiful beloved, who acts as a reminder of transcendent Beauty. The lover mediates this same experience for the beloved. Each comes to desire the other as well as Beauty itself. Chapter 5 argues that the drama of the lovers’ formation mythically depicted in the Palinode (Chapter 4) is written into the drama of the dialogue as a whole. In the relationship between Socrates and Phaedrus, we see an enactment of love’s formative role. Likewise, in the relationship between Phaedrus and Lysias, we see an enactment of the dangerous soul-leading discussed in Chapter 2. My focus on leading and following also allows me to show the thematic significance of the drama’s setting. Chapter 6 articulates the metaphysical conditions under which one can be led into communion with reality. Transcendent Beauty invites us into communion with itself and makes possible our ascent by providing us with divine guides and images which can transport us from our ordinary experiences to the true beings. Beauty accomplishes its work—leading us in a “divine dance” where we follow the gods up to Beauty and back down to each other—through images. When we handle images of reality rightly, they lead our souls into communion with reality. Further, when we have come into communion, we’ll be inspired to be co-workers of Beauty’s soul-leading work. When we articulate reality in language, we create new images that can serve to lead others toward reality. (shrink)

This book argues that there is a joint in nature between seeing and thinking, perception, and cognition. Perception is constitutively iconic, nonconceptual, and nonpropositional, whereas cognition does not have these properties constitutively. The book does not appeal to “intuitions,” as is common in philosophy, but to empirical evidence, including experiments in neuroscience and psychology. The book argues that cognition affects perception, i.e., that perception is cognitively penetrable, but that this does not impugn the joint in nature. A key part of (...) the argument is that we perceive not only low-level properties like colors, shapes, and textures but also high-level properties such as faces and causation. Along the way, the book explains the difference between perception and perceptual memory, the differences between format and content, and whether perception is probabilistic despite our lack of awareness of probabilistic properties. The book argues for perceptual categories that are not concepts, that perception need not be singular, that perceptual attribution and perceptual discrimination are equally fundamental, and that basic features of the mind known as “core cognition” are not a third category in between perception and cognition. The chapter on consciousness leverages these results to argue against some of the most widely accepted theories of consciousness. Although only one chapter is about consciousness, much of the rest of the book repurposes work on consciousness to isolate the scientific basis of perception. (shrink)

Perceptual systems respond to proximal stimuli by forming mental representations of distal stimuli. A central goal for the philosophy of perception is to characterize the representations delivered by perceptual systems. It may be that all perceptual representations are in some way proprietarily perceptual and differ from the representational format of thought (Dretske 1981; Carey 2009; Burge 2010; Block ms.). Or it may instead be that perception and cognition always trade in the same code (Prinz 2002; Pylyshyn 2003). This paper rejects (...) both approaches in favor of perceptual pluralism, the thesis that perception delivers a multiplicity of representational formats, some proprietary and some shared with cognition. The argument for perceptual pluralism marshals a wide array of empirical evidence in favor of iconic (i.e., image-like, analog) representations in perception as well as discursive (i.e., language-like, digital) perceptual object representations. (shrink)

According to C. S. Peirce, resemblance or similarity is the basis for the relationship of iconic signs to their dynamical objects. But what is the basis of resemblance or similarity itself and how is the phenomenon of iconicity generated? How does it function in cultural practices and processes by which various forms of signs are generated (say, for example, the cartographical procedures by which maps are drawn, more generally, the diagrammatic ones by which networks of relationships are iconically represented)? (...) To what extent are they themselves performances (maps are always both the result of mappings andthe impetus for re-mappings)? With examples from texts by Virginia Woolf, W. G. Sebald and Reif Larsen, I will argue that literary texts provide us with uniqueresources for exploring, among other matters, the performative dimension of iconicity in the complex interaction among icon, index and metaphor as aprerequisite for semiosis, the generation of signs. (shrink)

The orthodox monadic determination thesis holds that we represent colour relations by virtue of representing colours. Against this orthodoxy, I argue that it is possible to represent colour relations without representing any colours. I present a model of iconic perceptual content that allows for such primitive relational colour representation, and provide four empirical arguments in its support. I close by surveying alternative views of the relationship between monadic and relational colour representation.

Mental capacities for perceiving, remembering, thinking, and planning involve the processing of structured mental representations. A compositional semantics of such representations would explain how the content of any given representation is determined by the contents of its constituents and their mode of combination. While many have argued that semantic theories of mental representations would have broad value for understanding the mind, there have been few attempts to develop such theories in a systematic and empirically constrained way. This paper contributes to (...) that end by developing a semantics for a ‘fragment’ of our mental representational system: the visual system’s representations of the bounding contours of objects. At least three distinct kinds of composition are involved in such representations: ‘concatenation’, ‘feature composition’, and ‘contour composition’. I sketch the constraints on and semantics of each of these. This account has three principal payoffs. First, it models a working framework for compositionally ascribing structure and content to perceptual representations, while highlighting core kinds of evidence that bear on such ascriptions. Second, it shows how a compositional semantics of perception can be compatible with holistic, or Gestalt, phenomena, which are often taken to show that the whole percept is ‘other than the sum of its parts’. Finally, the account illuminates the format of a key type of perceptual representation, bringing out the ways in which contour representations exhibit domain-specific form of the sort that is typical of structured icons such as diagrams and maps, in contrast to typical discursive representations of logic and language. (shrink)

This commentary critically examines the view of the relationship between perception and memory in Ned Block's *The Border Between Seeing and Thinking*. It argues that visual working memory often stores the outputs of perception without altering their formats, allowing online visual perception to access these memory representations in computations that unfold over longer timescales and across eye movements. Since Block concedes that visual working memory representations are not iconic, we should not think of perceptual representations as exclusively iconic either.

An ongoing philosophical discussion concerns how various types of mental states fall within broad representational genera—for example, whether perceptual states are “iconic” or “sentential,” “analog” or “digital,” and so on. Here, I examine the grounds for making much more specific claims about how mental states are structured from constituent parts. For example, the state I am in when I perceive the shape of a mountain ridge may have as constituent parts my representations of the shapes of each peak and saddle (...) of the ridge. More specific structural claims of this sort are a guide to how mental states fall within broader representational kinds. Moreover, these claims have significant implications of their own about semantic, functional, and epistemic features of our mental lives. But what are the conditions on a mental state's having one type of constituent structure rather than another? Drawing on explanatory strategies in vision science, I argue that, other things being equal, the constituent structure of a mental state determines what I call its distributional properties—namely, how mental states of that type can, cannot, or must co‐occur with other mental states in a given system. Distributional properties depend critically on and are informative about the underlying structures of mental states, they abstract in important ways from aspects of how mental states are processed, and they can yield significant insights into the variegation of psychological capacities. (shrink)

The capacity for feature binding is typically explained in terms of the attribution model: a perceptual state selects an individual and attributes properties to it (Kahneman & Treisman 1984; Clark 2004; Burge 2010). Thus features are bound together in virtue of being attributed to the same individual. While the attribution model successfully explains some cases of binding in perception, not all binding need be understood as property attribution. This chapter argues that some forms of binding—those involving holistic iconic representations, which (...) bind features outside the limits of attention and object files—don’t fit the attribution model. The chapter then sketches an alternative coordination model of binding that construes icons as complex analog representations. (shrink)

Robert Brandom’s expressivism argues that not all semantic content may be made fully explicit. This view connects in interesting ways with recent movements in philosophy of mathematics and logic (e.g. Brown, Shin, Giaquinto) to take diagrams seriously - as more than a mere “heuristic aid” to proof, but either proofs themselves, or irreducible components of such. However what exactly is a diagram in logic? Does this constitute a semiotic natural kind? The paper will argue that such a natural kind does (...) exist in Charles Peirce’s conception of iconic signs, but that fully understood, logical diagrams involve a structured array of normative reasoning practices, as well as just a “picture on a page”. (shrink)

This article presents Paul Ricœur’s hermeneutic of the productive imagination as a methodological tool for understanding the innovative social function of texts that in exceeding their semantic meaning, iconically augment reality. Through the reasoning of Rastafari elder Mortimo Planno’s unpublished text, Rastafarian: The Earth’s Most Strangest Man, and the religious and biblical signification from the music of his most famous postulate, Bob Marley, this article applies Paul Ricœur’s schema of the religious productive imagination to conceptualize the metaphoric transfer from text (...) to life of verbal and iconic images of Rastafari’s hermeneutic of word, sound and power. This transformation is accomplished through what Ricœur terms the phenomenology of the iconic augmentation of reality. Understanding this semantic innovation is critical to understanding the capacity of the religious imagination to transform reality as a proclamation of hope in the midst of despair. (shrink)

Os signos e as classes dos signos estão entre os tópicos mais importantes do sistema filosófico de Charles S. Peirce. As 10, 28, e 66 classes de signos são classificações desenvolvidas especialmente a partir de 1903 e representam um grande refinamento da divisão fundamental de signos – ícone, índice, símbolo. Nossa abordagem aqui define uma estratégia de visualização das classificações dos signos, com especial atenção para as 10 e 66 classes de signos. O livro está dividido em duas partes: (i) (...) bases teóricas, (ii) diagramas para as classes de signos. Na Parte I (bases teóricas), são apresentadas introdutoriamente as noções fundamentais das categorias fenomenológicas, classes de signos, as tricotomias e diagramas, assim como implicações gerais de nossa abordagem, metodologia e aplicações. Na Parte II (diagramas para as classes de signos), são apresentados e discutidos os modelos das classes, propostos por Peirce e seus comentadores, incluindo uma introdução detalhadamente documental de nossos modelos, 10cubes e 3N3, diagramas dinâmicos para as classes de signos. (shrink)

This paper offers an expressivist account of logical form, arguing that in order to fully understand it one must examine what valid arguments make us do (or: what Achilles does and the Tortoise doesn’t, in Carroll’s famed fable). It introduces Charles Peirce’s distinction between symbols, indices and icons as three different kinds of signification whereby the sign picks out its object by learned convention, by unmediated indication, and by resemblance respectively. It is then argued that logical form is represented by (...) the third, iconic, kind of sign. It is noted that icons uniquely enjoy partial identity between sign and object, and argued that this holds the key to Carroll’s puzzle. Finally, from this examination of sign-types metaphysical morals are drawn: that the traditional foes metaphysical realism and conventionalism constitute a false dichotomy, and that reality contains intriguingly inference-binding structures. (shrink)

This paper inquires into literariness, a much neglected problem in translation, from a cognitive poetic perspective; it tries to show the nature of proxy as concerns translation through various illustrations, hence what is termed by Bausse-Beier the proxy principle, and in passing answer the philosophical problem of translatability or untranslatability. Literariness, not limited to literature, may exist in all texts. It can be defined as the form of a text that is suggestive of something, different from that of a text (...) that is not. Any text that is literary is a literary text. Literariness may be realized through the use of metaphors, personifications, imagery, hyperbole and so on, and through the employment of pattern such as alliteration, paranomasia, meter, rhyme and so on. In translating a literary text, a translator should capture the literariness, otherwise the translation fails. However, in the process of translation, some of these features that contribute to the form, such as phonological or prosodic ones, will be definitely lost. If literariness is to be maintained, there should be a way for compensation. Analogy comes to the fore, though translation is by nature analogical; it is employed to reveal the iconicity between signifier and signified through some means of representation. In such an endeavor, optimum relevance should be aimed at so that a good proxy can be ensured: what is in the mind of an original reader should be that in the mind of a translation reader. (shrink)

Note: This draft was updated on November 10, 2020. Discussing federal statutes, Justice Scalia tells us that “[t]he stark reality is that the only thing that one can say for sure was agreed to by both houses and the president (on signing the bill) is the text of the statute. The rest is legal fiction." How should we take this claim? If we take "text" to mean the printed text, that text without more is just a series of marks. If (...) instead we take "text" (as we must) to refer to something off the page such as the "meaning" of the series of marks at issue, what is that meaning and how do we know that all the legislators "agreed" on that "meaning"? In seeking answers here, we necessarily delve into semiotics (i.e., the “general theory of signs”) by noting that meaningful ink marks ("signifiers) signify a meaning beyond themselves (the "signified.") Thus, understanding how signs function is integral to lawyers' textual and linguistic analysis. Additionally, as this article demonstrates, legal analysis and rhetoric are much impoverished if lawyers ignore nonverbal signs such as icons, indices, and nonverbal symbols. In providing a broad overview of semiotics for lawyers, this article thus (1) begins with a general definition of signs and the related notion of intentionality. It then turns to, among other things, (2) the structure and concomitants of signs in more detail (including the signifier and the signified), (3) the possible correlations of the signifier and the signified that generate signs of interest to lawyers such as the index, the icon, and the symbol; (5) the expansion of legal rhetoric through use of the index, the icon, and the non-verbal as well as the verbal symbol, (6) the nature of various semiotic acts in public and private law (including assertives, commissives, directives, and verdictives); (7) the interpretation and construction of semiotic acts (including contracts as commissives and legislation as directives); (8) the role of speaker or reader meaning in the interpretation and construction of semiotic acts; (9) the semiotics of meaning, time, and the fixation of meaning debate; (10) the impact of signifier drift; (11) the distinction between sense and understanding; and (12) some brief reflections on semiotics and the First Amendment. This article also provides an Appendix of further terms and concepts useful to lawyers in their explorations of semiotics. (shrink)

A leading semiotician, Thomas A. Sebeok (1920-2001), developed a useful typology which the author uses to analyze national and subnational flags, exploring them as signals, icons, indexes, and symbols and using extensively illustrations.

In “The myth of mental illness” Thomas Szasz challenges the idea that mental illnesses are diseases in the biomedical sense. In his view they are more similar to a foreign language and for this reason they cannot be treated by means of biomedical therapies. The present article explores the semiotic implications of Szasz’s view of the hysterical symptoms as an iconic language. Following Reichenbach, Szasz distinguishes three classes of signs: indexical, iconic and symbolic. The somatic language of the hysteric person (...) would be an iconic protolanguage which is more primordial than the objective language. Nevertheless, it retains all the basic functions of the language: to transmit information, to induce mood, and to promote action. Five different but intertwined reasons for the use of such an iconic form of communication are discussed. In conclusion, the hysterical symptom speaks its proper language and our ethical commitment is primarily to empathically listen to it. (shrink)

Iconic photographs are visual arguments depicting an, often dramatic, particular situation showing victims of disasters. Spectators watching the photo of the particular situation, empathise with it, and project the feelings evoked onto the events that form the context for the scene in the picture. This mobilises them into political action. In the process, however, the depicted personal misery is perused to exemplify the larger events. The tragedy of iconic photographs is analysed not as the misery experienced by the depicted persons, (...) but as the breach of their right to shame which is required for the photo to acquire iconicity. Examples are addressed, as well as the contrast classes of the self-portrait and Byzantine icons. (shrink)

Unconscious logical inference seems to rely on the syntactic structures of mental representations (Quilty-Dunn & Mandelbaum 2018). Other transitions, such as transitions using iconic representations and associative transitions, are harder to assimilate to syntax-based theories. Here we tackle these difficulties head on in the interest of a fuller taxonomy of mental transitions. Along the way we discuss how icons can be compositional without having constituent structure, and expand and defend the “symmetry condition” on Associationism (the idea that associative links and (...) transitions are perfectly symmetric). In the end, we show how a BIT (“bare inferential transition”) theory can cohabitate with these other non-inferential mental transitions. (shrink)

I argue that analogue mental representations possess a canonical decomposition into privileged constituents from which they compose. I motivate this suggestion, and rebut arguments to the contrary, through reflection on the approximate number system, whose representations are widely expected to have an analogue format. I then argue that arguments for the compositionality and constituent structure of these analogue representations generalize to other analogue mental representations posited in the human mind, such as those in early vision and visual imagery.