This paper explores the question of whether the United Nations should engage in preventive military actions. Correlatively, it asks whether UN preventive military actions could satisfy just war principles. Rather than from the standpoint of the individual nation state, the ethics of preventive war is discussed from the standpoint of the UN. For the sake of brevity, only the legitimate authority, just cause, last resort, and proportionality principles are considered. Since there has been disagreement about the specific content of these (...) principles, a third question also is explored: How should they be formulated? Moreover, these questions are addressed in the context of a particular issue: the goals of the non-proliferation and the abolition of weapons of mass destruction. (shrink)

Is there is a moral obligation to militarily intervene in another state to stop a genocide from happening (if this can be done with proportionate force)? My answer is that under exceptional circumstances a state or even a non-state actor might have a duty to stop a genocide (for example if these actors have promised to do so), but under most circumstances there is no such obligation. To wit, “humanity,” states, collectives, and individuals do not have an obligation to make (...) such promises in the first place or to create institutions that would impose a legal obligation of intervention upon them. Nor do states or persons or humanity “collectively” have – originally, without specifically creating such duties by contracts or promises – any pro tanto or special duties to save strangers at considerable cost to themselves or their own citizens (including their soldiers). That is, these costs do not merely override a duty to intervene, but rather there is no such duty to begin with – as shown by the fact that in such cases of non-intervention agents would not owe those they let die any compensation: if I do not save someone’s life because saving him would have cost me my arm or would have come with a high risk of losing my own life or would have forced me to kill innocent bystanders, I do not owe this person compensation. Thus the point of this chapter is that there is no “natural” or “general” or “original” duty to militarily intervene (or to create a legal obligation) to stop a genocide. I will consider and refute a number of arguments to the contrary, for example by Lango, Tan, and Pattison. (shrink)

Moral philosophers generally regard pacifism with disdain. Forty years ago, Jan Narveson called it a "bizarre and vaguely ludicrous" doctrine, and that assessment is, in some form or other, still common today. Few contemporary ethicists self-identify as pacifists, and in peace and war studies, just war theory is now the standard. That standard perpetuates the stereotype of pacifism as naïve and wrongheaded. The only way to make nonviolent commitments respectable under the prevailing view is by subsuming them under just war (...) logic, as in John Lango's recent appeal for nonviolent interventionism. In brief, just war theory dominates the discourse. What makes this dominance problematic is that just war theory systematically misconstrues and caricatures the pacifist position. Pacifist commitments can only be properly understood when the lenses of just war theory are put aside. Only then is it possible to understand why pacifism appears ridiculous in the literature. Straw men usually do. (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)

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)

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)

Super-Humeans argue that the most parsimonious ontology of the natural world compatible with our best physical theories consists exclusively of particles and the distance relations between them. This paper argues by contrast that Super-Humean reduction goes insufficiently far, by showing there to be a more parsimonious ontology compatible with physics: Ultimate-Humeanism. This novel view posits an ontology consisting solely of the particles and distance relations required for the existence of a single brain. Super-Humeans impose conditions on what counts as an (...) ontology of the natural world to avoid their view slipping into this kind of ontology, but these conditions are arbitrarily imposed and once this is exposed, Super-Humeans face a dilemma. Either they can embrace Ultimate-Humeanism as the minimal ontology of the natural world compatible with physics, or (more likely) they can rethink the methodology that got them there. Overall, this paper argues that Super-Humeanism currently lacks principled motivation, outlines a framework for naturalistic ontological reductions, and exposes the consequences of unchecked adherence to a simplicity-driven methodology. (shrink)

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 (...) Schema [23]. Similarly, in first-order set theory, Zermelo’s second-order Separation Axiom is approximated by Fraenkel’s first-order Separation Schema [17]. In some of several closely related senses, a schema is a complex system having multiple components one of which is a template-text or scheme-template, a syntactic string composed of one or more “blanks” and also possibly significant words and/or symbols. In accordance with a side condition the template-text of a schema is used as a “template” to specify a multitude, often infinite, of linguistic expressions such as phrases, sentences, or argument-texts, called instances of the schema. The side condition is a second component. The collection of instances may but need not be regarded as a third component. The instances are almost always considered to come from a previously identified language (whether formal or natural), which is often considered to be another component. This article reviews the often-conflicting uses of the expressions ‘schema’ and ‘scheme’ in the literature of logic. It discusses the different definitions presupposed by those uses. And it examines the ontological and epistemic presuppositions circumvented or mooted by the use of schemata, as well as the ontological and epistemic presuppositions engendered by their use. In short, this paper is an introduction to the history and philosophy of schemata. (shrink)

In a recent very interesting and important challenge to tracking theories of knowledge, Williams & Sinhababu claim to have devised a counter-example to tracking theories of knowledge of a sort that escapes the defense of those theories by Adams & Clarke. In this paper we will explain why this is not true. Tracking theories are not undermined by the example of the backward clock, as interesting as the case is.

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)

This paper discusses the history of the confusion and controversies over whether the definition of consequence presented in the 11-page 1936 Tarski consequence-definition paper is based on a monistic fixed-universe framework?like Begriffsschrift and Principia Mathematica. Monistic fixed-universe frameworks, common in pre-WWII logic, keep the range of the individual variables fixed as the class of all individuals. The contrary alternative is that the definition is predicated on a pluralistic multiple-universe framework?like the 1931 Gödel incompleteness paper. A pluralistic multiple-universe framework recognizes multiple (...) universes of discourse serving as different ranges of the individual variables in different interpretations?as in post-WWII model theory. In the early 1960s, many logicians?mistakenly, as we show?held the ?contrary alternative? that Tarski 1936 had already adopted a Gödel-type, pluralistic, multiple-universe framework. We explain that Tarski had not yet shifted out of the monistic, Frege?Russell, fixed-universe paradigm. We further argue that between his Principia-influenced pre-WWII Warsaw period and his model-theoretic post-WWII Berkeley period, Tarski's philosophy underwent many other radical changes. (shrink)

This interesting and imaginative monograph is based on the author’s PhD dissertation supervised by Saul Kripke. It is dedicated to Timothy Smiley, whose interpretation of PRIOR ANALYTICS informs its approach. As suggested by its title, this short work demonstrates conclusively that Aristotle’s syllogistic is a suitable vehicle for fruitful discussion of contemporary issues in logical theory. Aristotle’s syllogistic is represented by Corcoran’s 1972 reconstruction. The review studies Lear’s treatment of Aristotle’s logic, his appreciation of the Corcoran-Smiley paradigm, and his understanding (...) of modern logical theory. In the process Corcoran and Scanlan present new, previously unpublished results. Corcoran regards this review as an important contribution to contemporary study of PRIOR ANALYTICS: both the book and the review deserve to be better known. (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)

“Second-order Logic” in Anderson, C.A. and Zeleny, M., Eds. Logic, Meaning, and Computation: Essays in Memory of Alonzo Church. Dordrecht: Kluwer, 2001. Pp. 61–76. -/- Abstract. This expository article focuses on the fundamental differences between second- order logic and first-order logic. It is written entirely in ordinary English without logical symbols. It employs second-order propositions and second-order reasoning in a natural way to illustrate the fact that second-order logic is actually a familiar part of our traditional intuitive logical framework and (...) that it is not an artificial formalism created by specialists for technical purposes. To illustrate some of the main relationships between second-order logic and first-order logic, this paper introduces basic logic, a kind of zero-order logic, which is more rudimentary than first-order and which is transcended by first-order in the same way that first-order is transcended by second-order. The heuristic effectiveness and the historical importance of second-order logic are reviewed in the context of the contemporary debate over the legitimacy of second-order logic. Rejection of second-order logic is viewed as radical: an incipient paradigm shift involving radical repudiation of a part of our scientific tradition, a tradition that is defended by classical logicians. But it is also viewed as reactionary: as being analogous to the reactionary repudiation of symbolic logic by supporters of “Aristotelian” traditional logic. But even if “genuine” logic comes to be regarded as excluding second-order reasoning, which seems less likely today than fifty years ago, its effectiveness as a heuristic instrument will remain and its importance for understanding the history of logic and mathematics will not be diminished. Second-order logic may someday be gone, but it will never be forgotten. Technical formalisms have been avoided entirely in an effort to reach a wide audience, but every effort has been made to limit the inevitable sacrifice of rigor. People who do not know second-order logic cannot understand the modern debate over its legitimacy and they are cut-off from the heuristic advantages of second-order logic. And, what may be worse, they are cut-off from an understanding of the history of logic and thus are constrained to have distorted views of the nature of the subject. As Aristotle first said, we do not understand a discipline until we have seen its development. It is a truism that a person's conceptions of what a discipline is and of what it can become are predicated on their conception of what it has been. (shrink)

The five English words—sentence, proposition, judgment, statement, and fact—are central to coherent discussion in logic. However, each is ambiguous in that logicians use each with multiple normal meanings. Several of their meanings are vague in the sense of admitting borderline cases. In the course of displaying and describing the phenomena discussed using these words, this paper juxtaposes, distinguishes, and analyzes several senses of these and related words, focusing on a constellation of recommended senses. One of the purposes of this paper (...) is to demonstrate that ordinary English properly used has the resources for intricate and philosophically sound investigation of rather deep issues in logic and philosophy of language. No mathematical, logical, or linguistic symbols are used. Meanings need to be identified and clarified before being expressed in symbols. We hope to establish that clarity is served by deferring the extensive use of formalized or logically perfect languages until a solid “informal” foundation has been established. Questions of “ontological status”—e.g., whether propositions or sentences, or for that matter characters, numbers, truth-values, or instants, are “real entities”, are “idealizations”, or are “theoretical constructs”—plays no role in this paper. As is suggested by the title, this paper is written to be read aloud. -/- I hope that reading this aloud in groups will unite people in the enjoyment of the humanistic spirit of analytic philosophy. (shrink)

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

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

This essay takes logic and ethics in broad senses: logic as the science of evidence; ethics as the science justice. One of its main conclusions is that neither science can be fruitfully pursued without the virtues fostered by the other: logic is pointless without fairness and compassion; ethics is pointless without rigor and objectivity. The logician urging us to be dispassionate is in resonance and harmony with the ethicist urging us to be compassionate.

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

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

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

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

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

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

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

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

ABSTRACT: In its strongest unqualified form, the principle of wholistic reference is that in any given discourse, each proposition refers to the whole universe of that discourse, regardless of how limited the referents of its non-logical or content terms. According to this principle every proposition of number theory, even an equation such as "5 + 7 = 12", refers not only to the individual numbers that it happens to mention but to the whole universe of numbers. This principle, its history, (...) and its relevance to some of Oswaldo Chateaubriand's work are discussed in my 2004 paper "The Principle of Wholistic Reference" in Essays on Chateaubriand's "Logical Forms". In Chateaubriand's réplica (reply), which is printed with my paper, he raised several important additional issues including the three I focus on in this tréplica (reply to his reply): truth-values, universes of discourse, and formal ontology. This paper is self-contained: it is not necessary to have read the above-mentioned works. The principle of wholistic reference (PWR) was first put forth by George Boole in 1847 when he espoused a monistic fixed-universe viewpoint similar to the one Frege and Russell espoused throughout their careers. Later, Boole elaborated PWR in 1854 from the pluralistic multiple-universes perspective. (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)

There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also bypasses (...) contentious issues regarding the status of both indicated and 'initiated' types, as extensively discussed in the BJA. (shrink)

Tarski’s Convention T—presenting his notion of adequate definition of truth (sic)—contains two conditions: alpha and beta. Alpha requires that all instances of a certain T Schema be provable. Beta requires in effect the provability of ‘every truth is a sentence’. Beta formally recognizes the fact, repeatedly emphasized by Tarski, that sentences (devoid of free variable occurrences)—as opposed to pre-sentences (having free occurrences of variables)—exhaust the range of significance of is true. In Tarski’s preferred usage, it is part of the meaning (...) of true that attribution of being true to a given thing presupposes the thing is a sentence. Beta’s importance is further highlighted by the fact that alpha can be satisfied using the recursively definable concept of being satisfied by every infinite sequence, which Tarski explicitly rejects. Moreover, in Definition 23, the famous truth-definition, Tarski supplements “being satisfied by every infinite sequence” by adding the condition “being a sentence”. Even where truth is undefinable and treated by Tarski axiomatically, he adds as an explicit axiom a sentence to the effect that every truth is a sentence. Surprisingly, the sentence just before the presentation of Convention T seems to imply that alpha alone might be sufficient. Even more surprising is the sentence just after Convention T saying beta “is not essential”. Why include a condition if it is not essential? Tarski says nothing about this dissonance. Considering the broader context, the Polish original, the German translation from which the English was derived, and other sources, we attempt to determine what Tarski might have intended by the two troubling sentences which, as they stand, are contrary to the spirit, if not the letter, of several other passages in Tarski’s corpus. (shrink)

Our modern egalitarian and individualistic age is suspicious of authority, and in recent times there have been almost daily reports in the press of cases where trust in various authorities, including financial, governmental, political and religious, has been found to have been abused or misplaced. Such disappointments seem to bolster the case for withholding trust in external authority and falling back on one’s own resources. But if the lessons from Linda Zagzebski’s groundbreaking work are accepted, 1 self- reliance turns out (...) to be a confused and probably incoherent ideal ; and the rational and self-reflective person is committed to believing and acting on authority. In the second half of this short discussion paper I shall raise some possible concerns about Zagzebski’s positive case for reliance on authority, focussing on the moral and religious spheres. First however, let me say something about the negative part of Zagzebski’s work, her critique of self-reliance. Since I find this wholly convincing, I shall confine myself to some supplementary observations, mainly to do with the historical context in which her critique is located. (shrink)

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

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

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)