An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal (...) relationship of sounding. What if culture is actually nature? How does technology connect with botany, and what does it mean to engage the environment with the expanded tactility of the ear? This essay observes current inter-species practices in sound art by revisiting philosopher Susanne Langer’s theory of an embodied and embedded mind. Her “new key” in philosophy emphasizes music as a dynamic sound-pattern to conceptualize a semiology of artistic forms that renders human feeling in regard to non-human antecedents. This serves as a tool to trace the preconceptual substrata of mind, leading us through process-oriented studies of nature and psychophysical affect. Thinking with Langer involves the interconnection of natural systems, behavioural patterns, and human expression, which emerges in art. (shrink)

In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is of quite (...) a different kind; it is united with thorough and unmistakable distinctness. (p. 262) ... music expresses in an exceedingly universal language, in a material, that is, in mere tones, and with the greatest distinctness and truth, the inner being, the in-itself, of the world, which we think of under the concept of will (p. 264). These quotations contain an outright paradox: the meanings of music should be at the same time universal in the highest degree and characterised by the greatest distinctness. As it turns out this paradox does not follow merely from Schopenhauer's liking for brilliant, rethorical formulations. For it occurs in many contexts concerned with the expressive meaning of art, and especially music. Other occurrences of the dilemma are to be found in the writings of Felix Mendelssohn-Bartholdy and in the aesthetic theory of Susanne Langer formulated in chapter VIII, >On the Significance in Music of her book Philosophy in a New Key and it would be possible to quote many other sources. The persistently recurring nature of this paradox confirms that the issue will be central to any attempt at a complete theory of musical meaning. Furthermore, it may be essential for it to be resolved first if one aims to make sense of the relationship between musical and linguistic forms of meaning and, consequent upon this, to address the much debated question of whether music itself can be considered to be a language of the emotions. An attempt at a solution to the paradox in question constitutes the subject of this paper. For this purpose the framework and some notions of Langer's theory are used. The solution which I propose takes the form of distinguishing between two distinct notions of generality (which I will term 'generality' and 'abstractness'), as well as two distinct notions of particularity (which I will term 'specificity' and 'concreteness'), and involves assigning technically precise meanings to these with a view to constructing two relatively independent oppositions: on the one hand the concrete versus the abstract and, on the other, the specific versus the general. (Hints at such a solution are to be found both in Schopenhauer and in Langer). With the help of these notions it is, I believe, then possible to show that the arguments often quoted to the effect that musical meanings possess a certain generality in fact justify no more than their abstractness, while arguments usually thought to demonstrate that they possess a certain particularity in fact show only their specificity (but not concreteness). Consequently, musical meanings are shown to be abstract but specific, which does not entail any contradiction since these notions are independent and not opposed to each other. At the same time, musical meanings may then be contrasted with linguistic meanings, which themselves are abstract and general. If, however, each of the notions of abstractness and generality is understood as also permitting gradations, it will be the case that whereas linguistic meanings may be said to be more general (i.e. less specific) than musical ones, the latter are without any doubt more abstract than the former. (shrink)

Susanne K. Langer is best known as a philosopher of culture and student of Ernst Cassirer. In this chapter, however, I argue that this standard picture ignores her contributions to the development of analytic philosophy in the 1920s and 1930s. I reconstruct the reception of Langer’s first book *The Practice of Philosophy*—arguably the first sustained defense of analytic philosophy by an American philosopher—and describe how prominent European philosophers of science such as Moritz Schlick, Rudolf (...) Carnap, and Herbert Feigl viewed her as one of the most important allies in the United States. In the second half of this chapter, I turn to Langer’s best-selling *Philosophy in a New Key* and reconstruct her attempts to broaden the scope of the, by then, rapidly growing U.S. analytic movement. I argue that her book anticipated various developments in analytic philosophy but was largely ignored by her former colleagues. I end the chapter by offering some clues as to why New Key did not incite the same laudatory responses from analytic philosophers as her earlier work. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We (...) argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications (...) and ramifications regarding not only musical meaning, but also the purported metaphysics of music construed as essentially inhering in felt time. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding. We discuss a selection of examples of repetitive formations, from mediaeval music to contemporary music, which show that persistent, motion-inhibiting repetition undermines the listener’s ability to identify order and coherence due to a relative inability to anticipate the next occurrence of a differentiating musical event. We argue that Langer’s one-sided view of musical temporality, which patently relies on the conceptual framework of memory time and the specious present, exemplifies what we propose to call ‘the searchlight model of musical understanding,’ wherein the constant span of illumination of the searchlight (representing the span of the specious present) moves continuously parallel to, and along, its postulated target, i.e., the music heard, as it ‘illuminates’ it. We argue that, in the last analysis, memory time conceptually presupposes the publicly identifiable means of chronometric length. One maintains the ‘strong suspension thesis’ on pain of conceptual confusion. (shrink)

Susanne Langer is mainly known as the American philosopher who, starting from her famous Philosophy in a New Key, worked in aesthetics and famously saw art as the product of the human mind’s most important, distinctive and remarkable ability, i.e., the ability to symbolise. But Langer’s later consideration of the connection between art and symbol is propagated by an early interest in the logic of symbols themselves. This rather neglected early part of Langer’s thought and (...) her early interests and lines of reasoning, which she somehow abandoned later on to dedicate herself exclusively to the study of art, are the topic of this paper. (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s (...) insistence on a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Susanne Langer was a student at Radcliffe College between 1916 and 1926---a highly transitional period in the history of American philosophy. Intellectual generalists such as William James, John Dewey, and Josiah Royce had dominated philosophical debates at the turn of the century but the academic landscape gradually started to shift in the years after World War I. Many scholars of the new generation adopted a more piecemeal approach to philosophy---solving clearly delineated, technical puzzles using the so-called (...) “method of logical analysis”. Especially at Harvard, the intellectual climate rapidly changed. The department hired several philosophers who had contributed to the development of symbolic logic---H. M. Sheffer, C. I. Lewis, and A. N. Whitehead---and Harvard quickly began to be viewed as a central hub for analytic philosophy in the United States. This chapter contextualizes Langer’s earliest work by reading it through the lens of this shifting academic environment. Though Harvard did not allow women to take its courses until 1943, Langer is one of the most significant fruits of this period. Her dissertation “A Logical Analysis of Meaning” and her first publications are all illustrations of the approach that came to dictate the American philosophical conversation. By exploring the increased focus on the logical-analytic method and Langer’s attempts to expand the new approach to what she later called “non-discursive” symbolisms, I situate her publications in the intellectual context of the 1920s. (shrink)

Can music be considered a language of the emotions? The most common view today is that this is nothing but a Romantic cliché. Mainstream philosophy seems to view the claim that 'Music is the language of the emotions' as a slogan that was once vaguely defended by Rousseau, Goethe, or Kant, but that cannot be understood literally when one takes into consideration last century’s theories of language, such as Chomsky's on syntax or Tarski's on semantics (Scruton 1997: ch. 7, (...) see also Davies 2003: ch. 8, and Kania 2012). In this chapter, I will show why this common view is unwarranted, and thus go against nowadays philosophical mainstream by defending what I call the musicalanguage hypothesis. In Section 1, I will introduce the musicalanguage hypothesis and present, based on empirical evidence, some of the many similarities between language and music and explain why we should take them seriously. I will introduce a framework that aims to explain the communicative power of music using what we already know about linguistic communication (1.1). I will then outline several working hypotheses about musical grammar, musical meaning, and affective meaning (1.2), and thus defend that music is indeed very close to literally be a language of the emotions. In Section 2, I will detail some of the methodology, expectations, and preliminary results of a cross-cultural study on musical grammar that I am presently conducting between South India (Chennai) and Switzerland (Geneva and Lausanne)4. This empirical study focuses on two musical idioms and their grammatical features: Western classical music of the Common Period (ca. 1600-1900) and South Indian classical music (also know as Carnatic music). The main hypothesis of this study is that you need to master the grammar of a musical idiom in order to properly understand its musical meanings. (shrink)

a translation of A. Schoot "Kivy and Langer on Expressivity in Music".

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who traditionally (...) separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. (shrink)

Several recent studies in many different fields have focused on the question of how music can be expressive of such emotions that only sentient beings can feel. In philosophy of music the adherents of cognitivist theories of expressivity (e.g. Davies 2003, Kivy 2002) try to solve this problem by explaining that we hear music as expressive of emotions, because we hear the events and contours of music as resembling the typical ways in which human beings express their emotions in (...) behaviour and utterance. In cognitivist theories listeners are not supposed to have any reactionary feelings to the expressed emotions, whereas ‘arousalists’ (e.g. Matravers 1998) emphasize that a listener’s experience of expression involves an aroused feeling that is related to the expressed emotion; this aroused feeling makes it the case that we describe music as melancholic, for instance. The third type of philosophical theory of expressivity is the symbolist account (Addis 1999, Langer 1951) whose defenders regard music as isomorphic with our feelings and states of consciousness; in particular, special stress is laid on the idea that music is capable of presenting these ineffable states. (shrink)

This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre. I (...) argue that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. (shrink)

The question of meaning in music has been discussed by numerous philosophers of music. On one end of the philosophical spectrum, the meaning in music is understood as “specifically musical” meaning, i.e. the meaning exhausted by the musical ideas. The other end of the spectrum is occupied by the view that the meaning in music is emotional, consisting of the ex-pression or representation of emotions by music, i.e. that the meaning in music is emotional meaning. The paper will demonstrate that (...) the results of psychological research support a more complex view, which ac-knowledges different types of meaning. The main aim of the paper is to examine the contribution of experimental psychological research for the philosophical debates on musical meaning. Certain studies of behavioral and neurological reactions to musical stimuli have revealed interesting relationships between the processing of syntax, semantics, and emotion in mu-sic. After presenting three main philosophical views on musical meaning, the paper discusses the results and implications of three experimental psychological studies, and their relevance for the philosophical views. It is argued in the paper that the experimental results enrich the classical philosophical debate on meaning in music. The original contribution of the paper con-sists in suggesting a way to connect the philosophical debates on musical meaning with the experimental psychological research. The implications of the paper will reveal higher complexity of the issue of musical meaning than is implicitly supposed in the theoretical debates. The second important implication is the suggestion of a way in which philosophical questions concerning music can be approached with the help of experimental psychology in future research. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

This book contains a selection of papers from the workshop *Women in the History of Analytic Philosophy* held in October 2019 in Tilburg, the Netherlands. It is the first volume devoted to the role of women in early analytic philosophy. It discusses the ideas of ten female philosophers and covers a period of over a hundred years, beginning with the contribution to the Significs Movement by Victoria, Lady Welby in the second half of the nineteenth century, and ending (...) with Ruth Barcan Marcus’s celebrated version of quantified modal logic after the Second World War. The book makes clear that women contributed substantially to the development of analytic philosophy in all areas of philosophy, from logic, epistemology, and philosophy of science, to ethics, metaphysics, and philosophy of language. It illustrates that although women's voices were no different from men's as regards their scope and versatility, they had a much harder time being heard. The book is aimed at historians of philosophy and scholars in gender studies. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer whether the results (...) of the empirical research contribute to the debates of philosophical aesthetics of music. Each of the three chapters of the dissertation deals with one particular problem in philosophy of music: meaning in music, value of music, and the relationship between music and the emotions. For each particular philosophical problem discussed in these chapters, it is demonstrated that the experimental results provide interesting insights for philosophy of music. It is concluded in the dissertation that philosophers can benefit from examining experimental studies, not only regarding the particular aesthetic theories, but also in regard to the methodological consideration, since the dissertation shows that this kind of interdisciplinary approach uncovers methods useful to philosophers, not commonly available to the armchair philosophical approach. (shrink)

The present book is an in-depth study of Lukács’ musical aesthetics and, more specifically, of his essay on music from The Specificity of the Aesthetic (Die Eigenart des Ästhetischen, 1963). Lukács’ problematic in this essay revolves around a central issue in the history of Aesthetics: the problem of mimesis in music. Since the time of Plato and Aristotle music has been regarded as a mimesis (an imitation) of reality. However, this theory of music as mimesis presents major difficulties which have (...) long been the subject of philosophical thinking: how is it possible that an art so far removed from reality, an art that employs sounds (not images or concepts) be considered as an imitation of reality? This is the main question that concerns Lukács in this essay. The present book seeks, through the detailed examination of Lukács’ central argument, to demonstrate and clarify Lukács’ solution to this problem of musical mimesis and to highlight its significance for the contemporary debate on Aesthetics. (shrink)

There is a wealth of resources— ideas, insights, discoveries, inventions, traditions, cultures, languages, arts, religions, sciences, narratives, stories, poems, customs and norms, music and songs, games and personal experiences, and advertisements—that we produce, curate, consume, transmit, and inherit as humans. This wealth, which I define as semantic capital, gives meaning to, and makes sense of, our own existence and the world surrounding us. It defines who we are and enables humans to develop an individual and social life. This paper discusses (...) the shift from analog to digital semantic capital, and the extent to which this might affect the semanticisation of our identities, our lives and our realities. -/- . (shrink)

ABSTRACT: This is a little piece directed at the newcomer to Aristotle, making some general remarks about reading Aristotle at the beginning and end, with sandwiched in between, a brief and much simplified discussion of some common misunderstandings of Aristotle's philosophy, concerning spontaneity, causal indeterminism, freedom-to-do-otherwise, free choice, agent causation, logical determinism, teleological determinism, artistic creativity and freedom (eleutheria).

This paper is a discussion of Gabriel, Hülser and Schlotter’s 2009 article on a possible causal relation between Stoic logic and Frege. The paper provides detailed argument for why Rudolf Hirzel should not be taken as the qualified middleman in philosophical discussion with whom Frege learned what he ‘borrowed’ without acknowledgement from Stoic logic. Additionally, this paper offers some modest findings about some aspects of Frege's and Hirzel's lives and work habits, which may help us understand a little better Frege's (...) connection to Hirzel and to Stoic logic as well as Frege’s failure to acknowledge the Stoics. This paper is a purely historical offshoot of my essay ‘Frege plagiarized the Stoics’. Zero direct insights into either Frege’s or Stoic philosophy are offered. OPEN ACCESS. Choose 'without proxy' below. (shrink)

In this extended essay, I argue that Frege plagiarized the Stoics --and I mean exactly that-- on a large scale in his work on the philosophy of logic and language as written mainly between 1890 and his death in 1925 (much of which published posthumously) and possibly earlier. I use ‘plagiarize' (or 'plagiarise’) merely as a descriptive term. The essay is not concerned with finger pointing or casting moral judgement. The point is rather to demonstrate carefully by means of (...) detailed evidence that there are numerous (over a hundred) and extensive parallels both in formulation and --more importantly-- in content between the Stoics and Frege, parallels so plentiful that one would be hard pressed to brush them off as coincidence. These parallels include several that appear to occur in no other modern works that were published before Frege’s own and were accessible to him. Additionally, a cluster of corroborating historical data is adduced to support the suggestion, showing how easy it would have to been for Frege to plagiarize the Stoics. This (first) part of the essay is easy to read and vaguely entertaining, or so I hope. -/- (Corrigendum: At school, Frege likely had seven, not ten, years of intensive Latin and four years of intensive ancient Greek courses.). (shrink)

ABSTRACT: This chapter offers a revenge-free solution to the liar paradox (at the centre of which is the notion of Gestalt shift) and presents a formal representation of truth in, or for, a natural language like English, which proposes to show both why -- and how -- truth is coherent and how it appears to be incoherent, while preserving classical logic and most principles that some philosophers have taken to be central to the concept of truth and our use of (...) that notion. The chapter argues that, by using a truth operator rather than truth predicate, it is possible to provide a coherent, model-theoretic representation of truth with various desirable features. After investigating what features of liar sentences are responsible for their paradoxicality, the chapter identifies the logic as the normal modal logic KT4M (= S4M). Drawing on the structure of KT4M (=S4M), the author proposes that, pace deflationism, truth has content, that the content of truth is bivalence, and that the notions of both truth and bivalence are semideterminable. (shrink)

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)

Intuitionistic logic provides an elegant solution to the Sorites Paradox. Its acceptance has been hampered by two factors. First, the lack of an accepted semantics for languages containing vague terms has led even philosophers sympathetic to intuitionism to complain that no explanation has been given of why intuitionistic logic is the correct logic for such languages. Second, switching from classical to intuitionistic logic, while it may help with the Sorites, does not appear to offer any advantages when dealing with the (...) so-called paradoxes of higher-order vagueness. We offer a proposal that makes strides on both issues. We argue that the intuitionist’s characteristic rejection of any third alethic value alongside true and false is best elaborated by taking the normal modal system S4M to be the sentential logic of the operator ‘it is clearly the case that’. S4M opens the way to an account of higher-order vagueness which avoids the paradoxes that have been thought to infect the notion. S4M is one of the modal counterparts of the intuitionistic sentential calculus and we use this fact to explain why IPC is the correct sentential logic to use when reasoning with vague statements. We also show that our key results go through in an intuitionistic version of S4M. Finally, we deploy our analysis to reply to Timothy Williamson’s objections to intuitionistic treatments of vagueness. (shrink)

We argue that the extant evidence for Stoic logic provides all the elements required for a variable-free theory of multiple generality, including a number of remarkably modern features that straddle logic and semantics, such as the understanding of one- and two-place predicates as functions, the canonical formulation of universals as quantified conditionals, a straightforward relation between elements of propositional and first-order logic, and the roles of anaphora and rigid order in the regimented sentences that express multiply general propositions. We consider (...) and reinterpret some ancient texts that have been neglected in the context of Stoic universal and existential propositions and offer new explanations of some puzzling features in Stoic logic. Our results confirm that Stoic logic surpasses Aristotle’s with regard to multiple generality, and are a reminder that focusing on multiple generality through the lens of Frege-inspired variable-binding quantifier theory may hamper our understanding and appreciation of pre-Fregean theories of multiple generality. (shrink)

There is a trade-off between specificity and accuracy in existing models of belief. Descriptions of agents in the tripartite model, which recognizes only three doxastic attitudes—belief, disbelief, and suspension of judgment—are typically accurate, but not sufficiently specific. The orthodox Bayesian model, which requires real-valued credences, is perfectly specific, but often inaccurate: we often lack precise credences. I argue, first, that a popular attempt to fix the Bayesian model by using sets of functions is also inaccurate, since it requires us to (...) have interval-valued credences with perfectly precise endpoints. We can see this problem as analogous to the problem of higher order vagueness. Ultimately, I argue, the only way to avoid these problems is to endorse Insurmountable Unclassifiability. This principle has some surprising and radical consequences. For example, it entails that the trade-off between accuracy and specificity is in-principle unavoidable: sometimes it is simply impossible to characterize an agent’s doxastic state in a way that is both fully accurate and maximally specific. What we can do, however, is improve on both the tripartite and existing Bayesian models. I construct a new model of belief—the minimal model—that allows us to characterize agents with much greater specificity than the tripartite model, and yet which remains, unlike existing Bayesian models, perfectly accurate. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

This paper summarizes (in German) recent tendencies in the philosophy of the life sciences.

This very brief paperli provides plausible answers to the two residual questions that Jamie Tappenden states, but leaves unanswered, in his 2024 paper ‘Following Bobzien: Some notes on Frege’s development and engagement with his environment’, namely, why Frege read Sigwart’s Logik and what caused Frege to read Prantl. (This paperli is merely historical and offers no special philosophical insights of any sort.) ---------- OPEN ACCESS. Choose 'without proxy' below.

Most descriptions of higher-order vagueness in terms of traditional modal logic generate so-called higher-order vagueness paradoxes. The one that doesn't is problematic otherwise. Consequently, the present trend is toward more complex, non-standard theories. However, there is no need for this.In this paper I introduce a theory of higher-order vagueness that is paradox-free and can be expressed in the first-order extension of a normal modal system that is complete with respect to single-domain Kripke-frame semantics. This is the system QS4M+BF+FIN. It corresponds (...) to the class of transitive, reflexive and final frames. With borderlineness defined logically as usual, it then follows that something is borderline precisely when it is higher-order borderline, and that a predicate is vague precisely when it is higher-order vague.Like Williamson's, the theory proposed here has no clear borderline cases in Sorites sequences. I argue that objections that there must be clear borderline cases ensue from the confusion of two notions of borderlineness—one associated with genuine higher-order vagueness, the other employed to sort objects into categories—and that the higher-order vagueness paradoxes result from superimposing the second notion onto the first. Lastly, I address some further potential objections. (shrink)

ABSTRACT: In contemporary discussions of freedom in Stoic philosophy we often encounter the following assumptions: (i) the Stoics discussed the problem of free will and determinis; (ii) since in Stoic philosophy freedom of the will is in the end just an illusion, the Stoics took the freedom of the sage as a substitute for it and as the only true freedom; (iii) in the c. 500 years of live Stoic philosophical debate, the Stoics were largely concerned with the (...) same philosophical problems of freedom. In this paper I argue that (i) can be upheld only in a very restricted way; (ii) is altogether untenable; and regarding (iii), that, although there may have occurred little change in the Stoic philosophical position on freedom over the centuries, we can detect more than one transformation of the philosophical problems that were at the forefront of the discussion. Moreover, that all the conceptions and problems of freedom were linked to Stoic ethics, and that the differences between them become transparent when one considers their various roles in this context. (shrink)

ABSTRACT: 1. This paper argues that Epicurus had a notion of moral responsibility based on the agent’s causal responsibility, as opposed to the agent’s ability to act or choose otherwise; that Epicurus considered it a necessary condition for praising or blaming an agent for an action, that it was the agent and not something else that brought the action about. Thus, the central question of moral responsibility was whether the agent was the, or a, cause of the action, or whether (...) the agent was forced to act by something else. Actions could be attributed to agents because it is in their actions that the agents, qua moral beings, manifest themselves. 2. As a result, the question of moral development becomes all important. The paper collects and discusses the evidence for Epicurus views on moral development, i.e. (i) on how humans become moral beings and (ii) on how humans can become morally better. It becomes clear that Epicurus envisaged a complex web of hereditary and environmental factors to shape the moral aspect of a human being. 3. In line with Epicurus’ theory of moral responsibility and moral development, Epicurus ethics does not have the function of developing or justifying a moral system that allows for the effective allocation of praise and blame. Rather, for him the function of ethics – and in fact of the whole of philosophy – is to give everyone a chance to morally improve. (shrink)

ABSTRACT: The 3rd BCE Stoic logician "Chrysippus says that the number of conjunctions constructible from ten propositions exceeds one million. Hipparchus refuted this, demonstrating that the affirmative encompasses 103,049 conjunctions and the negative 310,952." After laying dormant for over 2000 years, the numbers in this Plutarch passage were recently identified as the 10th (and a derivative of the 11th) Schröder number, and F. Acerbi showed how the 2nd BCE astronomer Hipparchus could have calculated them. What remained unexplained is why Hipparchus’ (...) logic differed from Stoic logic, and consequently, whether Hipparchus actually refuted Chrysippus. This paper closes these explanatory gaps. (1) I reconstruct Hipparchus’ notions of conjunction and negation, and show how they differ from Stoic logic. (2) Based on evidence from Stoic logic, I reconstruct Chrysippus’ calculations, thereby (a) showing that Chrysippus’ claim of over a million conjunctions was correct; and (b) shedding new light on Stoic logic and – possibly – on 3rd century BCE combinatorics. (3) Using evidence about the developments in logic from the 3rd to the 2nd centuries, including the amalgamation of Peripatetic and Stoic theories, I explain why Hipparchus, in his calculations, used the logical notions he did, and why he may have thought they were Stoic. OPEN ACCESS LINK. (shrink)

ABSTRACT: This paper discusses ancient versions of paradoxes today classified as paradoxes of presupposition and how their ancient solutions compare with contemporary ones. Sections 1-4 air ancient evidence for the Fallacy of Complex Question and suggested solutions, introduce the Horn Paradox, consider its authorship and contemporary solutions. Section 5 reconstructs the Stoic solution, suggesting the Stoics produced a Russellian-type solution based on a hidden scope ambiguity of negation. The difference to Russell's explanation of definite descriptions is that in the Horn (...) Paradox the Stoics uncovered a hidden conjunction rather than a hidden existential sentence. Sections 6 and 7 investigate hidden ambiguities in 'to have' and 'to lose' (including inalienable and alienable possession) and ambiguities of quantification based on substitution of indefinite plural expressions for indefinite or anaphoric pronouns, and Stoic awareness of these. Section 8 considers metaphorical readings and allusions that add further spice to the paradox. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

ABSTRACT: A general interpretation and close textual analysis of Kant’s theory of the categories of freedom (or categories of practical reason) in his Critique of Practical Reason. My main concerns in the paper are the following: (1) I show that Kant’s categories of freedom have primarily three functions: as conditions of the possibility for actions (i) to be free, (ii) to be comprehensible as free and (iii) to be morally evaluated. (2) I show that for Kant actions, although qua theoretical (...) objects they are always already constituted by means of the theoretical categories, qua practical objects (objects of reason in its practical use, i.e. objects qua possibly good or bad) they are constituted by means of the categories of freedom; and that it is only in this way that actions, qua phenomena, can be a consequence of freedom, and can be understood and evaluated as such. (3) Since Kant's presentation of his theory of the Categories of Freedom is extremely brief, Kant's parallel theory of the theoretical categories in his Critique of Pure Reason is used as a guide for the interpretation of the practical categories and their systematic relevance. (Translation by Alex Worsnip, reviewed and approved by the author.). (shrink)

This paper contends that Stoic logic (i.e. Stoic analysis) deserves more attention from contemporary logicians. It sets out how, compared with contemporary propositional calculi, Stoic analysis is closest to methods of backward proof search for Gentzen-inspired substructural sequent logics, as they have been developed in logic programming and structural proof theory, and produces its proof search calculus in tree form. It shows how multiple similarities to Gentzen sequent systems combine with intriguing dissimilarities that may enrich contemporary discussion. Much of Stoic (...) logic appears surprisingly modern: a recursively formulated syntax with some truth-functional propositional operators; analogues to cut rules, axiom schemata and Gentzen’s negation-introduction rules; an implicit variable-sharing principle and deliberate rejection of Thinning and avoidance of paradoxes of implication. These latter features mark the system out as a relevance logic, where the absence of duals for its left and right introduction rules puts it in the vicinity of McCall’s connexive logic. Methodologically, the choice of meticulously formulated meta-logical rules in lieu of axiom and inference schemata absorbs some structural rules and results in an economical, precise and elegant system that values decidability over completeness. (shrink)

Introduction to the special issue including papers about Susan Stebbing, Susanne Langer and Maria Kokoszyńska.

ABSTRACT: I argue that there is no evidence that Epicurus dealt with the kind of free-will problem he is traditionally associated with; i.e. that he discussed free choice or moral responsibility grounded on free choice, or that the "swerve" was involved in decision processes. Rather, for Epicurus, actions are fully determined by the agent's mental disposition at the outset of the action. Moral responsibility presupposes not free choice but that the person is unforced and causally responsible for the action. This (...) requires the agent's ability to influence causally, on the basis of their beliefs, the development of their behavioral dispositions. The "swerve" was intended to explain the non-necessity of agency without undermining Epicurus' atomistic explanation of the order in the universe, viz. by making the mental dispositions of adults non-necessary. (shrink)

eSports practice designates a unique set of activities tethered to competitive, virtual environments, or worlds. This correlation between eSports practitioner and virtual world, we argue, is inadequately accounted for solely in terms of something physical or intellectual. Instead, we favor a perspective on eSports practice to be analyzed as a perceptual and embodied phenomenon. In this article, we present the phenomenological approach and focus on the embodied sensations of eSports practitioners as they cope with and perceive within their virtual worlds. (...) By approaching eSports phenomenologically, we uncover ways in which its unique forms of virtual involvement overlap with as well as differentiate themselves from traditional structures of embodiment. (shrink)

A review of Yvanka Raynova's monograph Sein, Sinn und Werte: Phänomenologische und hermeneutische Perspektiven des europäischen Denkens. Frankfurt am Main, Bern, Bruxelles, New York, Oxford, Warszawa, Wien: 2017, 331 S.

ABSTRACT: A systematic reconstruction of Chrysippus’ theory of causes, grounded on the Stoic tenets that causes are bodies, that they are relative, and that all causation can ultimately be traced back to the one ‘active principle’ which pervades all things. I argue that Chrysippus neither developed a finished taxonomy of causes, nor intended to do so, and that he did not have a set of technical terms for mutually exclusive classes of causes. Rather, the various adjectives which he used for (...) causes had the function of describing or explaining particular features of certain causes in particular philosophical contexts. I challenge the sometimes assumed close connection of Chrysippus’ notion of causation with explanation. I show that the standard view that the distinction between proximate and auxiliary causes and perfect and principal causes corresponds to the distinction between internal and external determining factors is not born out by the evidence, and argue that causes of the two types were not thought to co-operate, but rather conceived of as alternatives. (shrink)

Since Mates’ seminal Stoic Logic there has been uncertainty and debate about how to treat the term anapodeiktos when used of Stoic syllogisms. This paper argues that the customary translation of anapodeiktos by ‘indemonstrable’ is accurate, and it explains why this is so. At the heart of the explanation is an argument that, contrary to what is commonly assumed, indemonstrability is rooted in the generic account of the Stoic epistemic notion of demonstration. Some minor insights into Stoic logic ensue.