Lewis's notion of a "natural" property has proved divisive: some have taken to the notion with enthusiasm, while others have been sceptical. However, it is far from obvious what the enthusiasts and the sceptics are disagreeing about. This paper attempts to articulate what is at stake in this debate.

The Knowledge Account of Assertion (KAA) says that knowledge is the norm of assertion: you may assert a proposition only if you know that it’s true. The primary support for KAA is an explanatory inference from a broad range of linguistic data. The more data that KAA well explains, the stronger the case for it, and the more difficult it is for the competition to keep pace. In this paper we critically assess a purported new linguistic datum, which, it has (...) been argued, KAA well explains. We argue that KAA does not well explain it. (shrink)

Almost everyone believes that testimony can transmit knowledge from speaker to hearer. What some philosophers mean by this is ordinary and pedestrian-- they mean only that, in at least some cases, a speaker S knows that p, S testifies that p to a hearer H, and H comes to know that p as a result of believing S's testimony. There is disagreement about how this occurs, but that it does occur is sufficient for the transmission of knowledge in the intended (...) sense. On this understanding of transmission, the natural questions are these: (1) What conditions, in addition to speaker knowledge and speaker testimony, are sufficient for the hearer to gain testimonial knowledge?; and (2) Is speaker knowledge always necessary for testimonial knowledge? That is: Is all testimonial knowledge transmitted knowledge? (shrink)

Under what conditions are two utterances utterances of the same word? What are words? That these questions have not received much attention is rather surprising: after all, philosophers and linguists frequently appeal to considerations about word and sentence identity in connection with a variety of puzzles and problems that are foundational to the very subject matter of philosophy of language and linguistics.1 Kaplan’s attention to words is thus to be applauded. And there is no doubt that his discussion contains many (...) useful insights. Nevertheless, we find his picture deeply flawed for a variety of crosscutting reasons. Our aim in this paper is to further advance an understanding of the nature of words, both by remedying the problems with Kaplan’s account, and also by achieving a suitable perspective on what the metaphysical investigation of word identity can hope to achieve. Our discussion divides into four parts. In Part One, we examine and critique Kaplan’s discussion of a contrast integral to his own account: that between the type-token and the stage-continuant conceptions of words. In Part Two, we present three constraints on any account of words and two further themes in Kaplan’s discussion central to his conception of words – the role of repetition and the constitutive authority of intentions. While these ideas have laudable motivations, we argue they are far from the best way of making good on the insights that drive them. The final two sections take a skeptical turn. In Part Three, we express doubt about Kaplan’s presumption of the importance of what he calls ‘common currency names’, thus raising a suspicion that he may be in pursuit of chimera. Finally, in Part Four, we express pessimism about whether interesting answers to question above will be forthcoming, and suggest that the legitimacy of our word ontology need not depend on the availability of such answers. Along the way, we tease apart a number of metaphysical questions in the vicinity of the topic of word individuation – questions that are often not disentangled – and consider how the discussion of the previous parts bears on them.. (shrink)

Loneliness in medicine is a serious problem not just for patients, for whom illness is intrinsically isolating, but also for physicians in the contemporary condition of medicine. We explore this problem by investigating the ideal physician-patient relationship, whose analogy with friendship has held enduring normative appeal. Drawing from Talbot Brewer and Nir Ben-Moshe, we argue that this appeal lies in a dynamic form of companionship incompatible with static models of friendship-like physician-patient relationships: a mutual refinement of embodied virtue that draws (...) both persons together. The ideal physician-patient relationship has a dialectical character that fosters each member's improvement of phenomenologically recognizing and embodying moral virtues. A key component of this dynamic is a commitment to the common goal of the patient's health, realized through joint interactivities and conversations over time. The physician's presence to the patient's suffering—understood best as an alienating phenomenological condition for the patient—orients and discloses possibilities for virtuous caregiving by structuring the meanings of the goals, conversations, and joint narrative constitutive of their relationship. Presence to suffering, paradoxically, is perhaps an important prerequisite for this dynamic partnership. These activities dialectically build an interpretive horizon of understanding through which moral goods and character refinement—in and for the other—may become revealed for both persons in their shared being-in-the-world. This analysis of suffering, mood, and revealing of (possible) moral goods has implications for addressing the modern problem of loneliness for patients and physicians, who are increasingly inhibited from building flourishing relationships with each other. (shrink)

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 (...) by means of a formal deduction in the system. Review of the system makes the first point obvious. The purpose of the present article is to prove the second. Strong completeness is demonstrated for the Aristotelian system. (shrink)

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 (...) is further shown that each member of one class is synonymous with each member of the other class; thus that all of the theories are definitionally equivalent with each other and with Peano arithmetic. Categoricity of Peano arithmetic then implies categoricity of each of the above theories. (shrink)

Both professors and institutions of higher education benefit from a vision of academic life that is grounded more firmly in myth than in history. According to the myth created by that traditional vision, scholars pursue research wherever their drive to knowledge takes them, and colleges and universities transmit the fruits of that research to contemporary and future generations as the accumulated wisdom of the ages. Yet the economic and social forces operating on colleges and universities as institutions, as well as (...) on the interests of faculty members within them, are making the myth embodied in the traditional ideal of the academy more and more difficult to sustain. Questions about what an institution of higher education ought to be, about what professors ought to do, and about what relations professors ought to have to the institutions which employ them are being raised and pushed to the fore. These are not theoretical questions, but practical questions of immediate import that must be answered relatively quickly -- and wisely -- if institutions of higher education and professors are not to find themselves inextricably in the grip of forces they cannot change. The myth of disinterested academic research-however beautiful -- and however beneficial -- is under siege. (shrink)

Published in Darren Tofts, Annemarie Jonson, and Alessio Cavallaro (eds), _Prefiguring Cyberculture: an intellectual history_ (MIT Press and Power Publications, December 2002). Please do send comments: email me. Back to my main publications page . Back to my home page.

Translation of "Von der Armut am Geiste; ein Dialog des jungen Lukács," by Ágnes Heller. This translation originally appeared in The Philosophical Forum, Spring-Summer 1972.

The problem of downward causation is that an intuitive response to an intuitive picture leads to counterintuitive results. Suppose a mental event, m1, causes another mental event, m2. Unless the mental and the physical are completely independent, there will be a physical event in your brain or your body or the physical world as a whole that underlies this event. The mental event occurs at least partly in virtue of the physical event’s occurring. And the same goes for m2 [2] (...) and p2. Let’s not worry about what exactly “underlying” or “in virtue of” means here. Here’s the picture. m1 -----> m2 | | p1 -----> p2 The horizontal arrows represent causation, and the vertical lines represent underlying, whatever that may be. There’s some reason to think that the only way m1 can bring about m2 is by bringing about p2. You can’t convince someone of something through mental telepathy. You need to interact with the physical world, perhaps by saying something and so making some noise, or by pointing and getting them to turn their head and see. What goes for the case of two people goes for the case of one person as well. Superstition aside, there is no purely mental energy that floats free of the merely physical workings of the brain. If m1 brings about m2 by bringing about p2, then m1 brings about p2. This is downward causation. But wait. Doesn’t p1 bring about p2? Isn’t that what the bottom arrow represents? Maybe m1 and p1 work together to bring about p2. There are little holes in the physical causal structure that need to be filled by mental events. You don’t need a sweeping metaphysical thesis about the causal closure of the physical to find this implausible. Maybe p2 is overdetermined. (shrink)

This report highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012: 1. How should we demarcate perceptual learning from perceptual development? 2. What are the origins of multimodal associations? 3. Does our representation of time provide an amodal framework for multi-sensory integration? 4. What counts as cognitive penetration? 5. How can philosophers and psychologists most fruitfully collaborate?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: What counts as cognitive penetration?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: Does our representation of time provide and amodal framework for multi-sensory integration?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How can philosophers and psychologists most fruitfully collaborate?

This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: What are the origins of multimodal associations?

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 (...) the premises. The complementarity and interrelation of premise-conclusion arguments and premise-conclusion-mediation arguments resonate throughout the rest of the paper which articulates the conceptual structure found in logic from Aristotle to Tarski. This 1972 paper can be seen as anticipating Corcoran’s signature work: the more widely read 1989 paper, Argumentations and Logic, Argumentation 3, 17–43. MR91b:03006. The 1972 paper was translated into Portuguese. The 1989 paper was translated into Spanish, Portuguese, and Persian. (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)

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.

This paper seeks to identify the distinctive moral wrong of stalking and argues that this wrong is serious enough to criminalize. We draw on psychological literature about stalking, distinguishing types of stalkers, their pathologies, and victims. The victimology is the basis for claims about what is wrong with stalking. Close attention to the experiences of victims often reveals an obsessive preoccupation with the stalker and what he will do next. The kind of harm this does is best understood in relation (...) to the value of privacy and conventionally protected zones of privacy. We compare anti-stalking laws in different jurisdictions, claiming that they all fail in some way to capture the distinctive privacy violation that stalking involves. Further reflection on the seriousness of the invasion of privacy it represents suggests that it is a deeply personal wrong. Indeed, it is usually more serious than obtrusive surveillance by states, precisely because it is more personal. Where state surveillance genuinely is as intrusive as stalking, it tends to adopt the tactics of the stalker, imposing its presence on the activist victim at every turn. Power dynamics —whether rooted in the power of the state or the violence of a stalker —may exacerbate violations of privacy, but the wrong is distinct from violence, threats of violence and other aggression. Nor is stalking a simple expression of a difference in power between stalker and victim, such as a difference due to gender. (shrink)

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 (...) consequence. Adequacy criteria for systems of the first two types include: effectiveness, soundness, completeness, Post completeness, "strong soundness" and strong completeness. Consideration of a logical system as a theory of deduction leads us to attempt to formulate two adequacy criteria for systems of proofs. The first deals with the concept of rigor or "gaplessness" in proofs. The second is a completeness condition for a system of proofs. An historical note at the end of the paper suggests a remarkable parallel between the above hierarchy of systems and the actual historical development of this area of logic. (shrink)

Recent discussions of how axioms are extrinsically justified have appealed to abductive considerations: on such accounts, axioms are adopted on the basis that they constitute the best explanation of some mathematical data, or phenomena. In the first part of this paper, I set out a potential problem caused by the appeal made to the notion of mathematical explanation and suggest that it can be remedied once it is noted that all the justificatory work is done by appeal to the theoretical (...) virtues. In the second part of the paper, I appeal to the theoretical virtues account of axiom justification to provide an argument that judgements of theoretical virtuousness, and therefore of extrinsic justification, are subjective in a substantive sense. This tells against a recent claim by Penelope Maddy that such justification is “wholly objective”. (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)

Abstract: Standing half wave particles at light speed twice in expansion-contraction comprise a static universe where two transverse fields 90° out of phase are the square of distance from each other. The universe has a static concept of time since the infinite universe is a static universe without a beginning or end. The square of distance is a point of reversal in expansion-contraction between the fields as a means to conserve energy. Photons on expansion in the electric field create matter (...) energy while photons on contraction in the magnetic field create light energy and gravitational pull toward the higher frequency energy. Also, the universe with matter has a moving physical concept of time from gravitational pull on expansion-contraction. (shrink)

A psychological study of thought and language which takes an exposition of scientific linquistics as a point of departure.

Abstract: Standing half wave particles at light speed twice in expansion-contraction comprise a static universe where two transverse fields 90° out of phase are the square of distance from each other. The universe has a static concept of time since the infinite universe is a static universe without a beginning or end. The square of distance is a point of reversal in expansion-contraction between the fields as a means to conserve energy. Photons on expansion in the electric field create matter (...) energy while photons on contraction in the magnetic field create light energy and gravitational pull toward the higher frequency energy. Also, the universe with matter has a moving physical concept of time from gravitational pull on expansion-contraction. (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)

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)

Recent attempts to answer ontological questions through conceptual analysis have been controversial. Still, it seems reasonable to assume that if the existence of certain things analytically follows from sentences we already accept, then there is no further ontological commitment involved in affirming the existence of those things. More generally, it is plausible that whenever a sentence analytically entails another, the conjunction of those sentences requires nothing more of the world for its truth than the former sentence alone. In his ‘Analyticity (...) and Ontology’, Louis deRosset tries to produce counterexamples to these principles by means of linguistic stipulations. I aim to show where his arguments go wrong. (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)

Memory is studied across a bewildering range of disciplines and subdisciplines in the neural, cognitive, and social sciences, and the term covers a wide range of related phenomena. In an integrative spirit, this chapter examines two case studies in memory research in which empirically-informed philosophy and philosophically informed sciences of the mind can be mutually informative, such that the interaction between psychology and philosophy can open up new research problems—and set new challenges—for our understanding of certain aspects of memory. In (...) each case, there is already enough interdisciplinary interaction on specific issues to give some confidence in the potential productivity of mutual exchange: but in each case, residual gulfs in research style and background assumptions remain to be addressed. (shrink)

There are many different ways to think about what has happened before. I think about my own recent actions, and about what happened to me a long time ago; I can think about times before I lived, and about what will happen after my death. I know many things about the past, and about what has happened because people did things before now, or because some good or bad things happened to me.

Bu yazı organ nakli ile ilgili şu soruyu ele almaktadır: Doktorlar sağlıklı bir kişinin organlarını alarak organ nakline gereksinim duyan birden fazla kişinin yaşamını kurtarırlarsa ahlaksal açıdan yanlış bir şey yapmış olurlar mı? Her ne kadar sağlıklı bir insanın organlarını alarak onun ölümüne neden olmak kabul edilemez görünse de bunu yapmamanın daha çok sayıda kişinin ölümüne neden olacağı düşünülürse ortada araştırılmaya değer bir soru olduğu görülür.

We need to understand, and on a philosophical level, our consumer mentality. For ours is a consumer society. Yet (pace environmental philosophers) philosophers have had almost nothing to say. This paper is a start toward a normative philosophy of consumption. It explores a distinction which, if viable, has far-reaching implications — the distinction between ownership and what I call “possession.” This distinction marks two different senses in which a good or service can be mine. I argue that an approach to (...) consumption oriented around possession rather than ownership would support the conclusion that there are prudential or self-interested, not only moral or environmental, limits to rational consumption. That would be a very desirable conclusion given that we often exceed these other limits of rational consumption. (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)

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)

The most common approach to the problem of requests for futile treatment – the hospital futility policy – rests on the assumption that demands for futile treatment are both intractable and irrational. But there is another approach to the futility problem, an approach that would be dialogic, piecemeal, and case-by-case. This is the only approach that attempts to deal with both the hospital’s problem and the patient’s or family’s problem that motivates the request/demand for futile treatments. As such, it holds (...) the promise of resolving the problem of demands for futile treatment in a way that does not generate anger and ill will at the hospital staff for what will inevitably strike patients and their families as a blatant assertion of the hospital’s power. (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)

Abstract: I argue that Orientalism continues to construct Arabs as subjects that cannot suffer violence, particularly the violence of torture. Beginning with Edward Said’s observation that Orientalists constructed ‘Arabs’ in the nineteenth -century as inorganic, metallic, and mineralized beings, I trace these themes through various sites in and around Guantanamo Bay. One finds the tropes of Orientalism in the Bybee memo as well as in the diary of Mohamedou Ould Slahi. Through these three distinct but related moments, one finds that (...) Orientalism continues to produce Arabs as inorganic entities beyond death and thereby immune to violence and specifically the violence of torture. Insofar as imperialism has co-opted the language of non-violence by constructing its enemies as inviolable, one must recognize the Orientalized Arab as a receptor of limitless ‘non - violent’ hostilities. (shrink)

In his essay “Literary Vocation as Occupational Idealism: The Example of Emerson’s ‘American Scholar,’” Rob Wilson compares Ralph Waldo Emerson’s scholar with the present literary intellectual in American society. According to Wilson, rather than becoming the intellectual beacon of hope Emerson envisioned, the American (literary) scholar has become trapped in a kind of intellectual bondage by the very act of writing. That is, Wilson believes that the American scholar, because of the effect of Emersonian idealism, has been subjected to repeating (...) Emersonian moral symbols and aesthetic tropes, which has resulted in the alienation of the critic from American society (Wilson 84). However, as will be seen, Wilson’s .. (shrink)

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 (...) reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of (...) expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...) token. The investigation also raises some significant issues concerning artistic printmaking, and strongly suggests in addition that two new concepts of interpretation--of identifying and constitutive interpretation--are required to adequately explain the artistic phenomena that are uncovered. (shrink)

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 (...) that which the words ordinarily refer to or describe when being used literally. (shrink)

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

Journal of Mind and Behavior 28 no. 2 , pp. 135-156. The self-prompting theory of consciousness holds that conscious perceptual experience occurs when non-routine perceptual data prompt the activation of a plan in an executive control system that monitors perceptual input. On the other hand, routine, non-conscious perception merely provides data about the world, which indicatively describes the world correctly or incorrectly. Perceptual experience instead involves data that are about the perceiver, not the world. Their function is that of imperatively (...) prompting the perceiver herself to do something (hence. (shrink)

Considers Goethe's Italienische Reise in regard to Adorno's notion of "late style," with especial focus on the role of Ovid's poetry in the work.