Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set of anchors (...) for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

The principle of universal instantiation plays a pivotal role both in the derivation of intensional paradoxes such as Prior’s paradox and Kaplan’s paradox and the debate between necessitism and contingentism. We outline a distinctively free logical approach to the intensional paradoxes and note how the free logical outlook allows one to distinguish two different, though allied themes in higher-order necessitism. We examine the costs of this solution and compare it with the more familiar ramificationist approaches to higher-order logic. Our assessment (...) of both approaches is largely pessimistic, and we remain reluctantly inclined to take Prior’s and Kaplan’s derivations at face value. (shrink)

The analysis of desire ascriptions has been a central topic of research for philosophers of language and mind. This work has mostly focused on providing a theory of want reports, that is, sentences of the form ‘S wants p’. In this paper, we turn from want reports to a closely related but relatively understudied construction, namely hope reports, that is, sentences of the form ‘S hopes p’. We present two contrasts involving hope reports and show that existing approaches to desire (...) fail to explain these contrasts. We then develop a novel account that combines some of the central insights in the literature. We argue that our theory provides an elegant account of our contrasts and yields a promising analysis of hoping. (shrink)

Philosophers have often noted a contrast between practical and theoretical reasons when it comes to cases involving equally balanced reasons. When there are strong practical reasons for A-ing, and equally strong practical reasons for some incompatible option, B-ing, the agent is permitted to make an arbitrary choice between them, having sufficient reason to A and sufficient reason to B. But when there is strong evidence for P and equally strong evidence for ~ P, one isn’t permitted to simply believe one (...) or the other. Instead, one must withhold belief, neither believing that P nor believing that ~ P. This paper examines what explains this contrast, focusing in particular on a proposal recently developed by Mark Schroeder across several papers. Schroeder aims to explain the contrast by an appeal to non-evidential, epistemic reasons against belief. But, I argue, it’s not clear exactly what those reasons are, nor how those reasons are to be weighed against evidential reasons. Despite these challenges, I argue that there are grounds for optimism that the contrast can be explained within the broad framework Schroeder provides, and I aim to provide resources to meet the aforementioned challenges. (shrink)

Eleanor Knox has argued that our concept of spacetime applies to whichever structure plays a certain functional role in the laws (the role of determining local inertial structure). I raise two complications for this approach. First, our spacetime concept seems to have the structure of a cluster concept, which means that Knox's inertial criteria for spacetime cannot succeed with complete generality. Second, the notion of metaphysical fundamentality may feature in the spacetime concept, in which case spacetime functionalism may be uninformative (...) in the absence of answers to fundamental metaphysical questions like the substantivalist/relationist debate. (shrink)

Time in electromagnetism shares many features with time in other physical theories. But there is one aspect of electromagnetism's relationship with time that has always been controversial, yet has not always attracted the limelight it deserves: the electromagnetic arrow of time. Beginning with a re-analysis of a famous argument between Ritz and Einstein over the origins of the radiation arrow, this chapter frames the debate between modern Einsteinians and neo-Ritzians. It tries to find a clean statement of what the arrow (...) is and then explains how it relates to the cosmological and thermodynamic arrows, representing the most developed and sophisticated attack yet, in either the physics or philosophy literature, on the electromagnetic arrow of time. (shrink)

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

What a person is doing often depends on that person’s thought about what they are doing, or about the wider circumstances of their action. For example, whether my killing is murder or manslaughter depends, in part, on whether I understand that what I am doing is killing you, and on whether I understand that my killing is unjustified. Similarly, if I know that the backpack I am taking is yours, then my taking it may be an act of theft; but (...) it is not theft if I simply mistook your backpack for my own. And if I don’t know that in signing a document I’m promising to do some thing, then in signing it I’m not promising to do this at all. -/- According to Elizabeth Anscombe, a central task of philosophical psychology is to articulate this dependency of action on thought. And in a range of papers published during the 1960s, Anscombe sought to elucidate various aspects of this dependency. In this paper we give a systematic overview of how Anscombe understands this dependency, and in the process reveal the conceptual framework underlying Anscombe’s thinking about perception, desire, intention, voluntariness, responsibility, guilt, and sin. (shrink)

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...) theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)

Causal theories of perception typically have problems in explaining deviant causal chains. They also have difficulty with other unusual putative cases of perception involving prosthetic aids, defective perception, scientifically extended cases of perception, and so on. But I show how a more adequate reflexive causal theory, in which objects or properties X cause a perceiver to acquire X-related dispositions toward that very same item X, can provide a plausible and principled perceptual explanation of all of these kinds of cases. A (...) critical discussion of David Lewis's perceptual descriptivist views is also provided, including a defense of the logical possibility of systematic misperception or perceptual error for a perceiver, in spite of its empirical improbability. (shrink)

The outlines of a novel, fully naturalistic theory of perception are provided, that can explain perception of an object X by organism Z in terms of reflexive causality. On the reflexive view proposed, organism Z perceives object or property X just in case X causes Z to acquire causal dispositions reflexively directed back upon X itself. This broadly functionalist theory is potentially capable of explaining both perceptual representation and perceptual content in purely causal terms, making no use of informational concepts. (...) However, such a reflexive, naturalistic causal theory must compete with well entrenched, supposedly equally naturalistic theories of perception that are based on some concept of information, so the paper also includes some basic logical, naturalistic and explanatory criticisms of such informational views. (shrink)

ABSTRACT: The Reflexive Theory of Perception (RTP) claims that perception of an object or property X by an organism Z consists in Z being caused by X to acquire some disposition D toward X itself. This broadly behavioral perceptual theory explains perceptual intentionality and correct versus incorrect, plus successful versus unsuccessful, perception in a plausible evolutionary framework. The theory also undermines cognitive and perceptual modularity assumptions, including informational or purely epistemic views of perception in that, according to the RTP, any (...) X-caused and X-directed dispositions are genuinely perceptual—including affective, attitudinal, and immediately activated purely action-directed behavioral dispositions. Thus the RTP has the potential to provide the foundations for a broadly behavioral counter-revolution in cognitive science. (shrink)

This paper will investigate the basic question of the nature of perception, as theoretically approached from a purely naturalistic standpoint. An adequate theory must not only have clear application to a world full of pre-existing biological examples of perception of all kinds, from unicellular perception to conscious human perception, but it must also satisfy a series of theoretical or philosophical constraints, as enumerated and discussed in Section 1 below. A perceptual theory invoking _reflexive dispositions_--that is, dispositions directed toward the very (...) same worldly perceived objects or properties that caused them--will be defended as one legitimate such naturalistic theory. (shrink)

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

I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...) for which reason I call this kind of content medium content (or medium-related content). (shrink)

The field of machine perception is based on standard informational and computational approaches to perception. But naturalistic informational theories are widely regarded as being inadequate, while purely syntactic computational approaches give no account of perceptual content. Thus there is a significant need for a novel, purely naturalistic perceptual theory not based on informational or computational concepts, which could provide a new paradigm for mechanistic perception. Now specifically evolutionary naturalistic approaches to perception have been—perhaps surprisingly—almost completely neglected for this purpose. Arguably (...) perceptual mechanisms enhance evolutionary fitness by facilitating sensorily mediated causal interactions between an organism Z and items X in its environment. A ‘reflexive’ theory of perception of this kind is outlined, according to which an organism Z perceives an item X just in case X causes a sensory organ zi of Z to cause Z to acquire a disposition toward the very same item X that caused the perception. The rest of the paper shows how an intuitively plausible account of mechanistic perception can be developed and defended in terms of the reflexive theory. Also, a compatibilist option is provided for those who wish to preserve a distinct informational concept of perception. (shrink)

Clearly we can perceive both objects, and various aspects or appearances of those objects. But how should that complexity of perceptual content be explained or analyzed? I argue that perceptual representations normally have a double or two level nested structure of content, so as to adequately incorporate information both about contextual aspects Y(X) of an object X, and about the object X itself. On this double content (DC) view, perceptual processing starts with aspectual data Y?(X?) as a higher level of (...) content, which data does not itself provide lower level X-related content, but only an aspectually encoded form of such data. Hence the relevant perceptual data Y?(X?) must be. (shrink)

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

How can it be true that one sees a lake when looking at a picture of a lake, since one's gaze is directed upon a flat dry surface covered in paint? An adequate contemporary explanation cannot avoid taking a theoretical stand on some fundamental cognitive science issues concerning the nature of perception, of pictorial content, and of perceptual reference to items that, strictly speaking, have no physical existence. A solution is proposed that invokes a broadly functionalist, naturalistic theory of perception, (...) plus a double content analysis of perceptual interpretation, which permits non-supervenient, culturally autonomous modes of reference to be generated and artistically exploited even in a purely physical world. In addition, a functionalist concept of broad or 'spread' reference replaces the traditional precise intentional concept of reference, which previously made reference to non-existent items theoretically intractable. (shrink)

Realistic uses of Virtual Reality technology closely integrate user training on virtual objects with VR-assisted user interactions with real objects. This paper shows how the Interactive Theory of Perception may be extended to cover such cases. Virtual objects are explained as concrete models that have an inner generation mechanism, and the ITP is used to explain how VR users can both perceive such local CMs, and perceptually represent remote real objects. Also, concepts of modeling and representation are distinguished. The paper (...) concludes with suggestions as to how the ITP methodology developed here could be extended to iconic external representations and models generally. (shrink)

It is generally accepted that Picasso might have used a different canvas as the vehicle for his painting Guernica, and also that the artwork Guernica itself necessarily represents a certain historical episode—rather than, say, a bowl of fruit. I argue that such a conjunctive acceptance entails a broadly propositional view of the nature of representational artworks. In addition, I argue—via a comprehensive examination of possible alternatives—that, perhaps surprisingly, there simply is no other available conjunctive view of the nature of representational (...) artworks in general. CiteULike Connotea Del.icio.us What's this? (shrink)

A novel semantic naturalization program is proposed. Its three main differences from informational semantics approaches are as follows. First, it makes use of a perceptually based, four-factor interactive causal relation in place of a simple nomic covariance relation. Second, it does not attempt to globally naturalize all semantic concepts, but instead it appeals to a broadly realist interpretation of natural science, in which the concept of propositional truth is off-limits to naturalization attempts. And third, it treats all semantic concepts as (...) being purely abstract, so that concrete cognitive states are only indexed by them rather than instantiating them. (shrink)

A dilemma exists when a doctor is faced with a child or young person who refuses medically indicated treatment. The Gillick case has been interpreted by many to mean that a child of sufficient age and intelligence could validly consent or refuse consent to treatment. Recent decisions of the Court of Appeal on a child's refusal of medical treatment have clouded the issue and undermined the spirit of the Gillick decision and the Children Act 1989. It is now the case (...) that a child patient whose competence is in doubt will be found rational if he or she accepts the proposal to treat but may be found incompetent if he or she disagrees. Practitioners are alerted to the anomalies now exhibited by the law on the issue of children's consent and refusal. The impact of the decisions from the perspectives of medicine, ethics, and the law are examined. Practitioners should review each case of child care carefully and in cases of doubt seek legal advice. (shrink)

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

Patrick Grim advances arguments meant to show that the doctrine of divine omniscience—the classical doctrine according to which God knows all truths—is false. In particular, we here have in mind to focus on two such arguments: the set theoretic argument and the semantic argument. These arguments due to Grim run parallel to, respectively, familiar paradoxes in set theory and naive truth theory. It is beyond the purview of this article to adjudicate whether or not these are successful arguments against the (...) classical doctrine of omniscience. What we are here interested in is a way in which these arguments can be generalized. In particular, we show how generalizations of those arguments can target, explicitly, alternatives to the classical doctrine of omniscience, including what we here call 'restricted omniscience' and 'open future open theism'. As a corollary, considerations of Grim-style arguments do not support these alternatives to the classical doctrine of omniscience over the classical doctrine. We conclude that what is paradoxical is not the classical doctrine of omniscience just as such; rather, what is paradoxical is a core commitment shared by the classical doctrine and its more modest alternatives, namely, the thesis that God is a perfectly logical reasoner. (shrink)

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

What is the relation between a perceptual experience of an object X as being red, and one's belief, if any, as to the nature of that experience? A traditional Cartesian view would be that, if indeed object X does seem to be red to oneself, then one's resulting introspective belief about it could only be a _conforming _belief, i.e., a belief that X perceptually seems to be _red _to oneself--rather than, for instance, a belief that X perceptually seems to be (...) green to oneself instead. On such a Cartesian view, our introspective certainly about our own thoughts extends also to our perceptual experiences as to how things seem to be to us, so that our resulting introspective beliefs about our phenomenal states also count as knowledge of them. (shrink)

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

I argue that perceptual content involves representations both of aspects of objects, and of objects themselves, whether at the level of conscious perception, or of low-level perceptual processing - a double content structure. I present an 'orientational' theory of the relations of the two kinds of perceptual content, which can accommodate both the general semantic possibility of perceptual misrepresentation, and also species of it involving characteristic perceptual confusions of aspectual and intrinsic content. The resulting theoretical structure is argued to be (...) a broadly methodological or logical one, rather than a substantive theory that is open to empirical refutation. (shrink)

Ted Sider has shown that my indeterminism argument for comparativist theories of quantity also applies to Mundy's absolutist theory. This is because Mundy's theory posits only "pure" relations, i.e. relations between values of the same quantity (between masses and other masses, or distances and other distances). It is straightforward to solve the problem by positing additional mixed relations.

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

Representationalists who hold that phenomenal character can be explained in terms of representational content currently cannot explain counter-examples that involve indeterminate perceptual content, such as in the case of objects seen blurrily by someone with poor eyesight, or objects seen vaguely in misty conditions. But this problem can be resolved via provision of a more sophisticated double content (DC) view, according to which the representational content of perception is structured in two nested levels. I start by outlining the DC view (...) via consideration of four closely related cases of perceptual imprecision. Then, after a demonstration that the DC view can also explain imprecise photographic content, inadequacies in the more standard single content (SC) view are demonstrated. The results are then generalized so as to apply to the content of any kinds of non-conventional representation. The paper continues with evidence that a DC account provides a moderate rather than extreme realist account of perception, and it concludes with an initial analysis of the failure of nomic covariance accounts of information in indeterminacy cases. (shrink)

A concrete proposal is presented as to how semantics should be naturalized. Rather than attempting to naturalize propositions, they are treated as abstract entities that index concrete cognitive states. In turn the relevant concrete cognitive states are identified via perceptual classifications of worldly states, with the aid of an interactive theory of perception. The approach enables a broadly realist theory of propositions, truth and cognitive states to be preserved, with propositions functioning much as abstract mathematical constructs do in the nonsemantic (...) sciences, but with a much more specific propositional indexing scheme than previous naturalistic proposals were able to achieve. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

I present considerations surrounding pre-reflective self-consciousness, arising in work I am conducting on a new physicalist, process-based account of [phenomenal] consciousness. The account is called the meta-causal account because it identifies consciousness with a certain type of arrangement of meta-causation. Meta-causation is causation where a cause or effect is itself an instance of causation. The proposed type of arrangement involves a sort of time-spanning, internal reflexivity of the overall meta-causation. I argue that, as a result of the account, any conscious (...) process has PRSC. Hence, PRSC does not need to be taken as a stipulation or argued for on purely phenomenological grounds or as a necessary support for reflective consciousness. I also show how it is natural to the account that PRSC is not an additional, peripheral, sort of consciousness, but is intrinsic to all consciousness, thereby fitting claims about self-intimation and co-constitution by various authors, and also being amenable to an adverbial account. As part of this, consciousness of an external object is just the form that current self-consciousness takes, the meta-causal constitution of it being inextricably modulated by the causal relationship with the object. The article also discusses how MCA helps explore issues of for-me-ness, transparency of perceptual consciousness, and possible immediacy and non-relationality of self-consciousness. (shrink)

This entry considers the question of whether rationality is normative; that is, the question of whether one always ought (or, more weakly, has a reason) to be rational. It first distinguishes substantive from structural rationality, noting how structural rationality presents a more serious challenge to the thesis that rationality is normative. It then considers the plausibility of skepticism about structural rationality, and notes some problems facing such skepticism. However, if we are not skeptics about structural requirements, we face the task (...) of formulating those requirements. But both narrow-scope and wide-scope formulations seem incompatible with the idea that we always ought to be rational. This suggests that we have good reason to think that rationality is not strongly normative. (shrink)

I argue that the concept of representation is ambiguous: a picture of 'a man', when there is no actual man that it depicts, both does, in one sense, and does not, in another sense, represent 'a man'--hence the need for a distinction of internal from external representation. Internal representation is also defended from reductive, non-referential alternative views, and from 'prosthesis' views of picturing, according to which seeing a picture of an actual man just is seeing through the picture to that (...) actual man himself. The view also provides a strong foundation for a theory of reference to fictional entities. (shrink)

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

ABSTRACT. This essay addresses the interpretation of Descartes’ understanding of the mind-body relationship as a substantial union in light of a statement he makes in the Passions de l’âme regarding the role of the blood and vital heat. Here, it seems Descartes cites these corporeal properties as the essential dispositions responsible for accommodating the soul into the human fetus. I argue that this statement should be read in the context of certain medical texts with which Descartes was familiar, namely those (...) of Jean Fernel and William Harvey. Reviewing Fernel’s comments on substantial union, one finds that the soul joins the body on the basis of a celestial spirit that not only bears the vital heat, it also directs the generation of the body. Similar to Harvey, Descartes locates these properties in the blood itself, although, in contrast to Harvey, Descartes reduces these processes to matter and motion. Finally, I highlight the role this heat plays in Descartes’ embryological writing, contrasting it with that of Fernel. I conclude that although Descartes makes various comments supporting a reading of the mind-body relation as a substantial union, his physiological writings on generation and his idea of ‘life’ contradict this interpretation. -/- . (shrink)

An overview, with links, of original approaches to six significant areas of philosophical concern, including the nature of perception and perceptual content, naturalistic approaches to representation and semantics, a representational explanation of generality, and a dual component theory of propositions. (This file also provides a useful demonstration of how webpage-like features may be simulated in a Word document).

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)

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)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...) Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

On a traditional or default view of the grasping or understanding of a singular proposition by an individual, it is assumed to be a unitary or holistic activity. However, naturalistic views of cognition plausibly could analyze propositional thinking in terms of more than one distinctive functional stage of cognitive processing, suggesting at least the potential legitimacy of a non-unitary analysis of propositional grasping. We outline a novel dual-component view of this kind, and show that it is well supported by current (...) cognitive science research. (shrink)

It is axiomatic for most African scholars that the colonizers are responsible for the present problems facing the African continent. This is given much credence by Maduabuchi Dukor citing a barrage of issues which in summary pointed to the fact that the legacy of the colonizers to the African continent was ill willed to create chaos and therefore to make the African perpetually dependent on the colonizers. This paper accepts this fact but insists that the African as a human being (...) with free will and responsibility cannot continue to blame the colonizers when he has choice either to reject the colonial predetermined events or to accept them taking responsibility for his actions. (shrink)

This book is the outcome of a series of lectures on art-related topics which Margolis gave in various places, including Finland, Russia, Japan and the USA, from 1995 through 1997. Mainly these lectures vividly distill views which Margolis has developed more fully elsewhere. Also, as his readers know, Margolis has an unusually allencompassing and closely integrated series of views on almost all of the main issues concerning both art and philosophy generally. Thus the task of a reviewer of this book (...) is the difficult one of somehow coming to terms and finding something useful to say (in a brief compass) on the full sweep of Margolis's philosophy as encapsulated by these lectures. (shrink)

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