Results for 'John Dunlosky'

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  1. The role of trust in knowledge.John Hardwig - 1991 - Journal of Philosophy 88 (12):693-708.
    Most traditional epistemologists see trust and knowledge as deeply antithetical: we cannot know by trusting in the opinions of others; knowledge must be based on evidence, not mere trust. I argue that this is badly mistaken. Modern knowers cannot be independent and self-reliant. In most disciplines, those who do not trust cannot know. Trust is thus often more epistemically basic than empirical evidence or logical argument, for the evidence and the argument are available only through trust. Finally, since the reliability (...)
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  2. Completeness of an ancient logic.John Corcoran - 1972 - Journal of Symbolic Logic 37 (4):696-702.
    In previous articles, it has been shown that the deductive system developed by Aristotle in his "second logic" is a natural deduction system and not an axiomatic system as previously had been thought. It was also stated that Aristotle's logic is self-sufficient in two senses: First, that it presupposed no other logical concepts, not even those of propositional logic; second, that it is (strongly) complete in the sense that every valid argument expressible in the language of the system is deducible (...)
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  3. Cognitivism and the arts.John Gibson - 2008 - Philosophy Compass 3 (4):573-589.
    Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.
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  4. Knowledge in action.John Gibbons - 2001 - Philosophy and Phenomenological Research 62 (3):579-600.
    This paper argues that the role of knowledge in the explanation and production of intentional action is as indispensable as the roles of belief and desire. If we are interested in explaining intentional actions rather than intentions or attempts, we need to make reference to more than the agent’s beliefs and desires. It is easy to see how the truth of your beliefs, or perhaps, facts about a setting will be involved in the explanation of an action. If you believe (...)
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  5. String theory.John Corcoran, William Frank & Michael Maloney - 1974 - Journal of Symbolic Logic 39 (4):625-637.
    For each positive n , two alternative axiomatizations of the theory of strings over n alphabetic characters are presented. One class of axiomatizations derives from Tarski's system of the Wahrheitsbegriff and uses the n characters and concatenation as primitives. The other class involves using n character-prefixing operators as primitives and derives from Hermes' Semiotik. All underlying logics are second order. It is shown that, for each n, the two theories are definitionally equivalent [or synonymous in the sense of deBouvere]. It (...)
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  6. A New Hope.Kyle Blumberg & John Hawthorne - 2022 - Journal of Philosophy 119 (1):5-32.
    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 (...)
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  7. Aristotle's demonstrative logic.John Corcoran - 2009 - History and Philosophy of Logic 30 (1):1-20.
    Demonstrative logic, the study of demonstration as opposed to persuasion, is the subject of Aristotle's two-volume Analytics. Many examples are geometrical. Demonstration produces knowledge (of the truth of propositions). Persuasion merely produces opinion. Aristotle presented a general truth-and-consequence conception of demonstration meant to apply to all demonstrations. According to him, a demonstration, which normally proves a conclusion not previously known to be true, is an extended argumentation beginning with premises known to be truths and containing a chain of reasoning showing (...)
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  8. Schemata: The concept of schema in the history of logic.John Corcoran - 2006 - Bulletin of Symbolic Logic 12 (2):219-240.
    The syllogistic figures and moods can be taken to be argument schemata as can the rules of the Stoic propositional logic. Sentence schemata have been used in axiomatizations of logic only since the landmark 1927 von Neumann paper [31]. Modern philosophers know the role of schemata in explications of the semantic conception of truth through Tarski’s 1933 Convention T [42]. Mathematical logicians recognize the role of schemata in first-order number theory where Peano’s second-order Induction Axiom is approximated by Herbrand’s Induction-Axiom (...)
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  9. Conceptual structure of classical logic.John Corcoran - 1972 - Philosophy and Phenomenological Research 33 (1):25-47.
    One innovation in this paper is its identification, analysis, and description of a troubling ambiguity in the word ‘argument’. In one sense ‘argument’ denotes a premise-conclusion argument: a two-part system composed of a set of sentences—the premises—and a single sentence—the conclusion. In another sense it denotes a premise-conclusion-mediation argument—later called an argumentation: a three-part system composed of a set of sentences—the premises—a single sentence—the conclusion—and complex of sentences—the mediation. The latter is often intended to show that the conclusion follows from (...)
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  10. Dreaming.John Sutton - 2009 - In Sarah Robins, John Symons & Paco Calvo (eds.), The Routledge Companion to Philosophy of Psychology. New York, NY: Routledge.
    As a topic in the philosophy of psychology, dreaming is a fascinating, diverse, and severely underdeveloped area of study. The topic excites intense public interest in its own right, while also challenging our confidence that we know what the words “conscious” and “consciousness” mean. So dreaming should be at the forefront of our interdisciplinary investigations: theories of mind which fail to address the topic are incomplete. This chapter illustrates the tight links between conceptual and empirical issues by highlighting surprisingly deep (...)
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  11. The Meaning of Life in a Developing Universe.John E. Stewart - 2010 - Foundations of Science 15 (4):395-409.
    The evolution of life on Earth has produced an organism that is beginning to model and understand its own evolution and the possible future evolution of life in the universe. These models and associated evidence show that evolution on Earth has a trajectory. The scale over which living processes are organized cooperatively has increased progressively, as has its evolvability. Recent theoretical advances raise the possibility that this trajectory is itself part of a wider developmental process. According to these theories, the (...)
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  12. Between truth and triviality.John Gibson - 2003 - British Journal of Aesthetics 43 (3):224-237.
    A viable theory of literary humanism must do justice to the idea that literature offers cognitive rewards to the careful reader. There are, however, powerful arguments to the effect that literature is at best only capable of offering idle visions of a world already well known. In this essay I argue that there is a form of cognitive awareness left unmentioned in the traditional vocabulary of knowledge acquisition, a form of awareness literature is particularly capable of offering. Thus even if (...)
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  13. Three logical theories.John Corcoran - 1969 - Philosophy of Science 36 (2):153-177.
    This study concerns logical systems considered as theories. By searching for the problems which the traditionally given systems may reasonably be intended to solve, we clarify the rationales for the adequacy criteria commonly applied to logical systems. From this point of view there appear to be three basic types of logical systems: those concerned with logical truth; those concerned with logical truth and with logical consequence; and those concerned with deduction per se as well as with logical truth and logical (...)
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  14. The Feel of the World: exograms, habits, and the confusion of types of memory.John Sutton - 2009 - In Andrew Kania (ed.), Memento. Routledge. pp. 65-86.
    A philosophical analysis of different kinds of memory used in the film Memento.
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  15. Consciousness is not a bag: Immanence, transcendence, and constitution in the idea of phenomenology.John B. Brough - 2008 - Husserl Studies 24 (3):177-191.
    A fruitful way to approach The Idea of Phenomenology is through Husserl’s claim that consciousness is not a bag, box, or any other kind of container. The bag conception, which dominated much of modern philosophy, is rooted in the idea that philosophy is restricted to investigating only what is really immanent to consciousness, such as acts and sensory contents. On this view, what Husserl called the riddle of transcendence can never be solved. The phenomenological reduction, as Husserl develops it in (...)
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  16. Motivation and practical reasons.John J. Tilley - 1997 - Erkenntnis 47 (1):105-127.
    In discussions of practical reason we often encounter the view that a fact is a reason for an agent to act only if the fact is capable of moving the agent to act. This view figures centrally in many philosophical controversies, and while taken for granted by some, it is vigorously disputed by others. In this essay I show that if the disputed position is correctly interpreted, it is well armored against stock objections and implied by a premise that is (...)
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  17. The Express Knowledge Account of Assertion.John Turri - 2011 - Australasian Journal of Philosophy 89 (1):37-45.
    Many philosophers favour the simple knowledge account of assertion, which says you may assert something only if you know it. The simple account is true but importantly incomplete. I defend a more informative thesis, namely, that you may assert something only if your assertion expresses knowledge. I call this 'the express knowledge account of assertion', which I argue better handles a wider range of cases while at the same time explaining the simple knowledge account's appeal. §1 introduces some new data (...)
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  18. Can the Epistemic Value of Natural Kinds Be Explained Independently of Their Metaphysics?Catherine Kendig & John Grey - 2021 - British Journal for the Philosophy of Science 72 (2):359-376.
    The account of natural kinds as stable property clusters is premised on the possibility of separating the epistemic value of natural kinds from their underlying metaphysics. On that account, the co-instantiation of any sub-cluster of the properties associated with a given natural kind raises the probability of the co-instantiation of the rest, and this clustering of property instantiation is invariant under all relevant counterfactual perturbations. We argue that it is not possible to evaluate the stability of a cluster of properties (...)
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  19. Perceptual causality problems reflexively resolved.John Dilworth - 2005 - Acta Analytica 20 (3):11-31.
    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 (...)
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  20. The reflexive theory of perception.John Dilworth - 2005 - Behavior and Philosophy 33 (1):17-40.
    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 (...)
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  21. A naturalistic, reflexive dispositional approach to perception.John Dilworth - 2005 - Southern Journal of Philosophy 43 (4):583-601.
    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 (...)
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  22. A New Framework for Conceptualism.John Bengson, Enrico Grube & Daniel Z. Korman - 2010 - Noûs 45 (1):167 - 189.
    Conceptualism is the thesis that, for any perceptual experience E, (i) E has a Fregean proposition as its content and (ii) a subject of E must possess a concept for each item represented by E. We advance a framework within which conceptualism may be defended against its most serious objections (e.g., Richard Heck's argument from nonveridical experience). The framework is of independent interest for the philosophy of mind and epistemology given its implications for debates regarding transparency, relationalism and representationalism, demonstrative (...)
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  23. A representational theory of artefacts and artworks.John Dilworth - 2001 - British Journal of Aesthetics 41 (4):353-370.
    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 (...)
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  24. Medium, subject matter and representation.John Dilworth - 2003 - Southern Journal of Philosophy 41 (1):45-62.
    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, (...)
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  25. Qualia: They’re Not What They Seem.John Gibbons - 2005 - Philosophical Studies 126 (3):397-428.
    Whether or not qualia are ways things seem, the view that qualia have the properties typically attributed to them is unjustified. Ways things seem do not have many of the properties commonly attributed to them. For example, inverted ways things seem are impossible. If ways things seem do not have the features commonly attributed to them, and qualia do have those same features, this looks like good reason to distinguish the two. But if your reasons for believing that qualia have (...)
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  26. The Sources of Mill’s View of Ratiocination and Induction.Steffen Ducheyne & John P. McCaskey - 2014 - In Antis Loizides (ed.), Mill’s a System of Logic: Critical Appraisals. New York: Routledge.
    The philosophical background important to Mill’s theory of induction has two major components: Richard Whately’s introduction of the uniformity principle into inductive inference and the loss of the idea of formal cause.
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  27. Does Perceiving Entail Knowing?John Turri - 2010 - Theoria 76 (3):197-206.
    This article accomplishes two closely connected things. First, it refutes an influential view about the relationship between perception and knowledge. In particular, it demonstrates that perceiving does not entail knowing. Second, it leverages that refutation to demonstrate that knowledge is not the most general factive propositional attitude.
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  28. The perception of representational content.John Dilworth - 2005 - British Journal of Aesthetics 45 (4):388-411.
    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, (...)
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  29. Representation, levels, and context in integrational linguistics and distributed cognition.John Sutton - 2004 - Language Sciences (6):503-524.
    Distributed Cognition and Integrational Linguistics have much in common. Both approaches see communicative activity and intelligent behaviour in general as strongly con- text-dependent and action-oriented, and brains as permeated by history. But there is some ten- sion between the two frameworks on three important issues. The majority of theorists of distributed cognition want to maintain some notions of mental representation and computa- tion, and to seek generalizations and patterns in the various ways in which creatures like us couple with technologies, (...)
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  30. The propositional challenge to aesthetics.John Dilworth - 2008 - British Journal of Aesthetics 48 (2):115-144.
    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 (...)
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  31. Semantic Naturalization via Interactive Perceptual Causality.John Dilworth - 2008 - Minds and Machines 18 (4):527-546.
    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 (...)
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  32. The fictionality of plays.John Dilworth - 2002 - Journal of Aesthetics and Art Criticism 60 (3):263–273.
    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 (...)
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  33. A double content theory of artistic representation.John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (3):249–260.
    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 (...)
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  34. Accounting for the 'Tragedy' in the Prisoner's Dilemma.John Tilley - 1994 - Synthese 99 (2):251–76.
    The Prisoner's Dilemma (PD) exhibits a tragedy in this sense: if the players are fully informed and rational, they are condemned to a jointly dispreferred outcome. In this essay I address the following question: What feature of the PD's payoff structure is necessary and sufficient to produce the tragedy? In answering it I use the notion of a trembling-hand equilibrium. In the final section I discuss an implication of my argument, an implication which bears on the persistence of the problem (...)
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  35. (1 other version)Information recovery problems.John Corcoran - 1995 - Theoria 10 (3):55-78.
    An information recovery problem is the problem of constructing a proposition containing the information dropped in going from a given premise to a given conclusion that folIows. The proposition(s) to beconstructed can be required to satisfy other conditions as well, e.g. being independent of the conclusion, or being “informationally unconnected” with the conclusion, or some other condition dictated by the context. This paper discusses various types of such problems, it presents techniques and principles useful in solving them, and it develops (...)
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  36. The twofold orientational structure of perception.John Dilworth - 2005 - Philosophical Psychology 18 (2):187-203.
    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 (...)
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  37. Argumentations and Logic.John Corcoran - 1989 - ARGUMENTAION 3 (1):17-43.
    Argumentations are at the heart of the deductive and the hypothetico-deductive methods, which are involved in attempts to reduce currently open problems to problems already solved. These two methods span the entire spectrum of problem-oriented reasoning from the simplest and most practical to the most complex and most theoretical, thereby uniting all objective thought whether ancient or contemporary, whether humanistic or scientific, whether normative or descriptive, whether concrete or abstract. Analysis, synthesis, evaluation, and function of argumentations are described. Perennial philosophic (...)
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  38. Categoricity.John Corcoran - 1980 - History and Philosophy of Logic 1 (1):187-207.
    After a short preface, the first of the three sections of this paper is devoted to historical and philosophic aspects of categoricity. The second section is a self-contained exposition, including detailed definitions, of a proof that every mathematical system whose domain is the closure of its set of distinguished individuals under its distinguished functions is categorically characterized by its induction principle together with its true atoms (atomic sentences and negations of atomic sentences). The third section deals with applications especially those (...)
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  39. Illusory intelligences?John White - 2008 - Journal of Philosophy of Education 42 (3-4):611-630.
    Howard Gardner's theory of Multiple Intelligences has had a huge influence on school education. But its credentials lack justification, as the first section of this paper shows via a detailed philosophical analysis of how the intelligences are identified. If we want to make sense of the theory, we need to turn from a philosophical to a historical perspective. This is provided in the second section, which explores how the theory came to take shape in the course of Gardner's intellectual development. (...)
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  40. Artistic expression as interpretation.John Dilworth - 2004 - British Journal of Aesthetics 44 (1):162-174.
    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 (...)
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  41. Representationalism and indeterminate perceptual content.John Dilworth - 2007 - Phenomenology and the Cognitive Sciences 6 (3):369-387.
    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 (...)
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  42. Artworks versus designs.John Dilworth - 2001 - British Journal of Aesthetics 41 (2):162-177.
    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 (...)
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  43. Two kinds of moral relativism.John J. Tilley - 1995 - Journal of Value Inquiry 29 (2):187-192.
    Discussions of moral relativism commonly distinguish between normative relativism (NR) and moral judgment relativism (MJR) without highlighting the differences between the two. One significant difference—a difference between normative relativism and the most prevalent type of moral judgment relativism—is not immediately obvious and has not been discussed in print. This paper explains it and draws out some of its philosophical consequences.
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  44. Supposition and choice: Why 'causal decision theory' is a misnomer.John Collins - unknown
    This paper has as its topic two recent philosophical disputes. One of these disputes is internal to the project known as decision theory, and while by now familiar to many, may well seem to be of pressing concern only to specialists. It has been carried on over the last twenty years or so, but by now the two opposing camps are pretty well entrenched in their respective positions, and the situation appears to many observers (as well as to some of (...)
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  45. (1 other version)After the Ascent: Plato on Becoming Like God.John M. Armstrong - 2004 - Oxford Studies in Ancient Philosophy 26:171-183.
    Plato is associated with the idea that the body holds us back from knowing ultimate reality and so we should try to distance ourselves from its influence. This sentiment appears is several of his dialogues including Theaetetus where the flight from the physical world is compared to becoming like God. In some major dialogues of Plato's later career such as Philebus and Laws, however, the idea of becoming like God takes a different turn. God is an intelligent force that tries (...)
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  46. Varieties of visual representation.John Dilworth - 2002 - Canadian Journal of Philosophy 32 (2):183-206.
    Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness motivates a view (...)
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  47. Theater, representation, types and interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...)
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  48. Three depictive views defended.John Dilworth - 2002 - British Journal of Aesthetics 42 (3):259-278.
    thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be vindicated by (...)
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  49. A representational approach to metaphor.John B. Dilworth - 1979 - Journal of Aesthetics and Art Criticism 37 (4):467-473.
    In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting (...)
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  50. Pictorial orientation matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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