In Tulving’s initial characterization, episodic memory was one of multiple memory systems. It was postulated, in pursuit of explanatory depth, as displaying proprietary operations, representations, and substrates such as to explain a range of cognitive, behavioural, and experiential phenomena. Yet the subsequent development of this research program has, paradoxically, introduced surprising doubts about the nature, and indeed existence, of episodic memory. On dominant versions of the ‘common system’ view, on which a single simulation system underlies both remembering and imagining, there (...) are no processes unique to memory to support robust generalizations with inductive potential. Eliminativism about episodic memory seems to follow from the claim that it has no dedicated neurocognitive system of its own. After identifying this under-noticed threat, we push back against modern eliminativists by surveying recent evidence that still indicates specialized mechanisms, computations, and representations that are distinctly mnemic in character. We argue that contemporary realists about episodic memory can retain lessons of the common system approach while resisting the further move to eliminativism. (shrink)

ABSTRACT Drawing inspiration from Fred Dretske, L. S. Carrier, John A. Barker, and Robert Nozick, we develop a tracking analysis of knowing according to which a true belief constitutes knowledge if and only if it is based on reasons that are sensitive to the fact that makes it true, that is, reasons that wouldn’t obtain if the belief weren’t true. We show that our sensitivity analysis handles numerous Gettier-type cases and lottery problems, blocks pathways leading to skepticism, and validates (...) the epistemic closure thesis that correct inferences from known premises yield knowledge of the conclusions. We discuss the plausible views of Ted Warfield and Branden Fitelson regarding cases of knowledge acquired via inference from false premises, and we show how our sensitivity analysis can account for such cases. We present arguments designed to discredit putative counterexamples to sensitivity analyses recently proffered by Tristan Haze, John Williams and Neil Sinhababu, which involve true statements made by untrustworthy informants and strange clocks that sometimes display the correct time while running backwards. Finally, we show that in virtue of employing the paradox-free subjunctive conditionals codified by Relevance Logic theorists instead of the paradox-laden subjunctive conditionals codified by Robert Stalnaker and David Lewis. (shrink)

According to QBism, quantum states, unitary evolutions, and measurement operators are all understood as personal judgments of the agent using the formalism. Meanwhile, quantum measurement outcomes are understood as the personal experiences of the same agent. Wigner’s conundrum of the friend, in which two agents ostensibly have different accounts of whether or not there is a measurement outcome, thus poses no paradox for QBism. Indeed the resolution of Wigner’s original thought experiment was central to the development of QBist thinking. The (...) focus of this paper concerns two very instructive modifications to Wigner’s puzzle: One, a recent no-go theorem by Frauchiger and Renner, and the other a thought experiment by Baumann and Brukner. We show that the paradoxical features emphasized in these works disappear once both friend and Wigner are understood as agents on an equal footing with regard to their individual uses of quantum theory. Wigner’s action on his friend then becomes, from the friend’s perspective, an action the friend takes on Wigner. Our analysis rests on a kind of quantum Copernican principle: When two agents take actions on each other, each agent has a dual role as a physical system for the other agent. No user of quantum theory is more privileged than any other. In contrast to the sentiment of Wigner’s original paper, neither agent should be considered as in “suspended animation.” In this light, QBism brings an entirely new perspective to understanding Wigner’s friend thought experiments. (shrink)

Dasgupta poses a serious challenge to realism about natural properties. He argues that there is no acceptable explanation of why natural properties deserve the value realists assign to them and are consequently absent of value. In response, this paper defines and defends an alternative non-explanatory account of normativity compatible with realism. Unlike Lewis and Sider, who believe it is sufficient to defend realism solely on realist terms, I engage with the challenge on unfriendly grounds by revealing a tu quoque. Dasgupta (...) and anti-realists face a similar challenge to that directed against realism: one that not only undermines the objection to realism by legitimising non-explanatory normativity but leaves them facing a significant dilemma. (shrink)

What constitutes a “good” life—not necessarily a morally good life, but a life that is good for the person who lived it? In response to this question of “well-being," philosophers have offered three significant answers: A good life is one in which a person can satisfy their desires (“Desire-Satisfaction” or “Preferentism”), one that includes certain good features (“Objectivism”), or one in which pleasurable states dominate or outweigh painful ones (“Hedonism”). To adjudicate among these competing theories, moral philosophers traditionally gather data (...) from thought experiments and intuition. In this chapter, we supplement that traditional approach with a pair of experimental studies that examine whether the three theories reflect laypeople’s intuitions about well-being. The empirical studies yield two primary findings. First, they provide evidence for lay "well-being pluralism": laypeople treat desire satisfaction, positive objective conditions, and happiness as all constitutive of well-being. Second, the studies provide evidence of "hedonic dominance": laypeople evaluate an individual’s happiness as more important to an individual’s overall well-being than desire satisfaction or objective conditions. (shrink)

This paper considers the formulation of the moral requirement against hypocrisy, paying particular attention to the logical scope of ‘requires’ in that formulation. The paper argues (i) that we should prefer a wide-scope formulation to a narrow-scope formulation, and (ii) this result has some advantages for our normative theorizing about hypocrisy – in particular, it allows us to resist several of Daniela Dover’s (2019) recent arguments against the anti-hypocrisy requirement.

Stephen Law developed a challenge to theism, known as the evil-god challenge (Law (2010) ). The evil-god challenge to theism is to explain why the theist’s responses to the problem of evil are any better than the diabolist’s – who believes in a supremely evil god – rejoinders to the problem of good, when all the theist’s ploys (theodicy, sceptical theism, etc.) can be parodied by the diabolist. In the first part of this article, I extend the evil-god challenge by (...) showing that additional theist replies to the problem of evil (more theodicies, the privation view of evil, and others) also may be appropriated, with just as much plausibility, in support of the diabolist position. In the second part of the article, I defend the evil-god challenge against several objections. (shrink)

Translated from: Searle, J. R. 'Social Ontology: some basic principles'. Anthopological Theory, 2006, Vol. 6, issue 1, pp.51-71.

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)

(for Adam Morton's half) I argue that if we take the values of persons to be ordered in a way that allows incomparability, then the problems Broome raises have easy solutions. In particular we can maintain that creating people is morally neutral while killing them has a negative value.

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)

An explanation of the seeing of depth both in reality and in pictures requires a dual content theory of visual recognition. In addition, there are two necessary conditions on genuine seeing of depth-related content. First, the right kinds of dependence relations must hold between a physical picture, its content and its perceiver, and second, the perceiver must be in an appropriate, functionally defined perceptual state.

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)

The appearance of negative terms in quasiprobability representations of quantum theory is known to be inevitable, and, due to its equivalence with the onset of contextuality, of central interest in quantum computation and information. Until recently, however, nothing has been known about how much negativity is necessary in a quasiprobability representation. Zhu :120404, 2016) proved that the upper and lower bounds with respect to one type of negativity measure are saturated by quasiprobability representations which are in one-to-one correspondence with the (...) elusive symmetric informationally complete quantum measurements. We define a family of negativity measures which includes Zhu’s as a special case and consider another member of the family which we call “sum negativity.” We prove a sufficient condition for local maxima in sum negativity and find exact global maxima in dimensions 3 and 4. Notably, we find that Zhu’s result on the SICs does not generally extend to sum negativity, although the analogous result does hold in dimension 4. Finally, the Hoggar lines in dimension 8 make an appearance in a conjecture on sum negativity. (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)

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 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)

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)

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)

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)

Drawing on recent scholarship and delving systematically into Iamblichean texts, these ten papers establish Iamblichus as the great innovator of Neoplatonic philosophy who broadened its appeal for future generations of philosophers.

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)

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)

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)

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)

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)

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)

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)

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)

This article further explains and develops a recent, comprehensive semantic naturalization theory, namely the interactive indexing (II) theory as described in my 2008 Minds and Machines article Semantic Naturalization via Interactive Perceptual Causality (Vol. 18, pp. 527–546). Folk views postulate a concrete intentional relation between cognitive states and the worldly states they are about. The II theory eliminates any such concrete intentionality, replacing it with purely causal relations based on the interactive theory of perception. But intentionality is preserved via purely (...) abstract propositions about the world that index, or correlate with, appropriate cognitive states. Further reasons as to why intentionality must be abstract are provided, along with more details of an II-style account of representation, language use and propositional attitudes. All cognitive representation is explained in terms of classification or sorting dispositions indexed by appropriate propositions. The theory is also related to Fodor’s representational theory of mind, with some surprisingly close parallels being found in spite of the purely dispositional basis of the II theory. In particular, Fodor’s insistence that thinking about an item cannot be reduced to sorting dispositions is supported via a novel two-level account of cognition—upper level propositional attitudes involve significant intermediate processing of a broadly normative epistemic kind prior to the formation of sorting dispositions. To conclude, the weak intentional realism of the II theory—which makes intentional descriptions of the world dispensable—is related to Dennett’s ‘intentional stance’ view, and distinguished from strong (indispensable) intentional realist views. II-style dispositions are also defended. (shrink)

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 (...) of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

In a previous Philo article, it was shown how properties could be ontologically dispensed with via a representational analysis: to be an X is to comprehensively represent all the properties of an X. The current paper extends that representationalist (RT) theory by explaining representation itself in parallel epistemic rather than ontological terms. On this extended RT (ERT) theory, representations of X, as well as the real X, both may be identified as providing information about X, whether partial or comprehensive. But (...) that information does not match ontological, property-based analyses of X, so it is epistemically fundamental–hence supporting a broadly conceptualist rather than nominalist metaphysics. (shrink)

I argue that there is an ambiguity in the concept of indiscernibility as applied to objects, because there are two different categories of properties, associated with two different ways in which all of the pre-theoretical 'properties' of an object may be identified. In one structural way, identifications of properties are independent of any particular spatial orientation of the object in question, but in another 'field' way, identifications are instead dependent on an object's particular spatial orientation, so that its properties as (...) thus identified in one orientation are distinct from its properties as identified in any other orientation--all of which ‘field’ properties must hence also be distinct from the previous structurally defined properties. -/- To accommodate the two kinds of intrinsic properties, the standard concept of indiscernibility is redefined as structural indiscernibility, while a new concept of field indiscernibility is introduced. I argue among other things that, though two objects may be structurally indiscernible under all orientational (and other) conditions, those objects may nevertheless fail to have field indiscernibility with each other under some orientational conditions. I also briefly discuss the implications of these results for general issues about the nature of properties, and of realist versus nominalist approaches to them. -/- . (shrink)