Picturing is a poorly understood element of Sellars’s philosophical project. We diagnose the problem with picturing as follows: on the one hand, it seems that it must be connected with action in order for it to do its job. On the other hand, the representational states of a picturing system are characterized in descriptive and seemingly static terms. How can static terms be connected with action? To solve this problem, we adopt a concept from recent work in Sellarsian metaethics: the (...) idea of a material practical inference, which (we argue) features centrally in how we picture. The key distinction is that the picturing of nonhuman animals involves only Humean material practical inference, in which representational states are corrected only by feedback from the environment and not from discursive interactions. The resulting view shows that Sellars’s contributions to practical philosophy (especially theory of action and metaethics) cannot be separated from his contributions to philosophy of mind, language, and cognitive science. Further, the view makes it clear that picturing is neither a version of the Given, nor is it a fifth wheel to inferential role in explaining representation, but is essential to Sellars’s model of how animals—including humans—represent their environment. (shrink)

I argue that Sellars’s distinction between signifying and picturing should be taken seriously by philosophers of mind, language, and cognition. I begin with interpretations of key Sellarsian texts in order to show that picturing is best understood as a theory of non-linguistic cognitive representations through which animals navigate their environments. This is distinct from the kind of discursive cognition that Sellars called ‘signifying’ and which is best understood in terms of socio-linguistic inferences. I argue that picturing is required because reflection (...) on signifying cannot adequately explain our need for cognitive friction. I then show how the idea of picturing is further developed by Paul Churchland, Ruth Garrett Millikan, and Huw Price. I finally turn to predictive processing as a theory of cognitive representation, and in particular Andy Clark’s ‘radical predictive processing’, to further characterize picturing. However, doing so has the cost of pushing picturing and signifying further apart than Sellars intended. (shrink)

It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in pictures (...) in an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)

There has been a long tradition of characterizing man as the animal that is capable of propositional language. However, the remarkable ability of using pictures also only belongs to human beings. Both faculties however depend conceptually on the ability to refer to absent situations by means of sign acts called 'context building'. The paper investigates the combined roles of quasi-pictorial sign acts and proto-assertive sign acts in the situation of initial context building, which, in the context of “concept-genetic” considerations, (...) aims for a philosophical explanation of the anthropological functon of pictures and their relation to imagination. (shrink)

John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.

This book has been inspired by Walter Benjamin’s idea of an afterlife of an original in its translations and probes into a wide variety of extensions of Carroll’s story in six languages. For one thing, it deals with language that speaks and more or less automatically steers its users in a particular direction and, for another, it discusses the creativity of individual translators who not only share a definite picture of the world with their language community but, in great many (...) instances, reveal a unique resourcefulness in resisting its power. Each chapter deals first with a separate theoretical issue (e.g. literalness, style, gender, and tense) and then proceeds to examine its practical actualization in various translations of Alice. (shrink)

This review points out how Baldwin's book is unique in that it foregrounds proto-Marxist views of God. But it misses the mark by not mentioning "Gilles Deleuze and Félix Guattari’s work on the rhizomic nature of the Buddhist ‘mandala’.".

It is often assumed that there is a perceptual conflict in looking at a picture since one sees both a two-dimensional surface and a three-dimensional scene simultaneously. In this paper, I argue that it is a mistake to think that looking at pictures requires the visual system to perform the special task of reconciling inconsistent impressions of space, or competing information from different depth cues. To the contrary, I suggest that there are good reasons to think that the perception (...) of depth in pictures is achieved in much the same way as is the perception of depth in any ordinary case. (shrink)

The review of the theory of electromagnetic field together with the special and general theories of relativity has been made. The similar theory of gravitation has been presented which has the property of Lorentz-invariancy in its own representation in which the information is transferred at the speed of propagation of the gravitational field. Generalization of the specified gravitation theory on noninertial reference systems has been made with the help of the mathematical apparatus of the general relativity. It allows to avoid (...) some drawbacks of the standard general relativity theory and to expand its applicability. The possibility of complementary descriptions of the physical phenomena with the help of simultaneous use of the theories of gravitational and electromagnetic fields has been shown. (shrink)

This paper represents a philosophical experiment inspired by the formalist philosophy of mathematics. In the formalist picture of cognition, the principal act of knowledge generation is represented as tentative postulation – as introduction of a new knowledge construct followed by exploration of the consequences that can be derived from it. Depending on the result, the new construct may be accepted as normative, rejected, modified etc. Languages and means of reasoning are generated and selected in a similar process. In the formalist (...) picture, all kinds of “truth” are detected intra-theoretically. Some knowledge construct may be considered as “true”, if it is accepted in a particular normative knowledge system. Some knowledge construct may be considered as persistently true, if it remains invariant during the evolution of some knowledge system for a sufficiently long time. And, if you wish, you may consider some knowledge construct as absolutely true, if you do not intend abandoning it in your knowledge system. And finally, in the formalist picture, all kinds of ontologies generated by humans can be demystified by reconstructing them within the basic solipsist ontology simply as hypothetical branches of it. (shrink)

While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue (...) that seeing trompe l’oeil paintings is, just as some philosophers suggested, different from other cases of picture perception. Further, the way our perceptual system functions when seeing trompe l’oeil paintings could be an important piece of the psychological explanation of perceiving pictures. (shrink)

I defend Christopher Peacocke's and Robert Hopkins's experienced resemblance accounts of depiction against criticisms put forward by Gavin McIntosh in a recent article in this journal. I argue that, while there may be reasons for rejecting Peacocke's and Hopkins's accounts, McIntosh fails to provide any.

This article studies the epic space of Dam San that is associated with traditional beliefs, rituals in festivals, and contexts associated with Ede’s productive labor and living activities. In that context, the image of the hero Dam San is an ideal leader with strength, talent, courage, virtue, great ambitions, and great ideals, and those ideals also represent the ideals of an ethnic group. The epic space of Dam San is just like a large theme reflecting the cultural life and anchoring, (...) transmitting traditional cultural values of the Ede ethnic group in Vietnam. (shrink)

Even after Quine’s critique of the analytic-synthetic distinction in “Two Dogmas of Empiricism,” Wilfrid Sellars maintained some forms of analyticity or truth in virtue of meaning. This paper aims to reconstruct his neglected account of the analytic-synthetic distinction and the revisability of analytic sentences, its connection to his inferentialist account of meaning, and his response to Quine. While Sellars’s account of how analytic sentences can be revised bears certain similarities with Carnap’s and Grice and Strawson’s accounts, it is still striking (...) in that it is part of his broader picture of how our language develops dynamically in our ongoing inquiry. I aim to show how it relates within his broader picture to his account of how the diachronic continuity in meaning, language, or conceptual framework can be preserved through a revision of analytic sentences, and to his evolutionary account of the development of our language or conceptual framework. (shrink)

In his late years, Thomas Kuhn became interested in the process of scientific specialization, which does not seem to possess the destructive element that is characteristic of scientific revolutions. It therefore makes sense to investigate whether and how Kuhn’s insights about specialization are consistent with, and actually fit, his model of scientific progress through revolutions. In this paper, I argue that the transition toward a new specialty corresponds to a revolutionary change for the group of scientists involved in such a (...) transition. I will clarify the role of the scientific community in revolutionary changes and characterize the incommensurability across specialties as possessing both semantic and methodological aspects. The discussion of the discovery of the structure of DNA will serve both as an illustration of my main argument and as reply to one criticism raised against Kuhn—namely, that his model cannot capture cases of revolutionary yet non-disruptive episodes of scientific progress. Revisiting Kuhn’s ideas on specialization will shed new light on some often overlooked features of scientific change. (shrink)

The leading models of disability struggle to fully encompass all aspects of “disability.” This difficulty arises, the author argues, because the models fundamentally misunderstand the nature of disability. Current theoretical approaches to disability can be understood as “nounal,” in that they understand disability as a thing that is caused or embodied. In contrast, this paper presents an adverbial perspective on disability, which shows that disability is experienced as a personally irremediable impediment to daily-living tasks or goals-like-ours. The picture theory of (...) disability technically constitutes a species of relational approach because its analysis references the interplay between an individual and their environment; it differs from other relational accounts, however, by interpreting disability as a certain kind of negative experience—rather than a function of that relationship. This purely descriptive theory makes no normative claims about disability and operates as both a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. When disability is reframed in this way, the theory offers a particularist perspective which shows if, when, where, and how disability is experienced. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

This article argues that common intuitions regarding (a) the specialness of ‘use-novel’ data for confirmation and (b) that this specialness implies the ‘no-double-counting rule’, which says that data used in ‘constructing’ (calibrating) a model cannot also play a role in confirming the model’s predictions, are too crude. The intuitions in question are pertinent in all the sciences, but we appeal to a climate science case study to illustrate what is at stake. Our strategy is to analyse the intuitive claims in (...) light of prominent accounts of confirmation of model predictions. We show that on the Bayesian account of confirmation, and also on the standard classical hypothesis-testing account, claims (a) and (b) are not generally true; but for some select cases, it is possible to distinguish data used for calibration from use-novel data, where only the latter confirm. The more specialized classical model-selection methods, on the other hand, uphold a nuanced version of claim (a), but this comes apart from (b), which must be rejected in favour of a more refined account of the relationship between calibration and confirmation. Thus, depending on the framework of confirmation, either the scope or the simplicity of the intuitive position must be revised. (shrink)

In his article “Insight: Genesis and Ongoing Context,” Fred Crowe calls out Lonergan’s line “the diagram is more important than…is ordinarily believed” as the “philosophical understatement of the century.” Sixteen pages later he identifies elaborating an invariant cognitional theory to underlie generalized emergent probability and thus “the immanent order of the universe of proportionate being,” as “our challenge,” “but given the difficulty” he does not “see any prospect for an immediate answer.” Could this have something to do with the lack (...) of a comprehensive diagram of cognitional theory? Appendix A of The Boston College Lectures on Mathematical Logic and Existentialism offers diagrams of the dynamics of knowing and doing perhaps copied from Lonergan’s own blackboard work, but they do not distinguish explanatory and descriptive insights, let alone statistical insights, and do not illustrate the pull upwards or the fusing of routinized insights. Before we can effectively relate cognitional theory to generalized emergent probability, we must have an adequately rigorous and precise cognitional theory. I firmly believe in the truth of Lonergan’s fundamental insights, but in order to rigorously undergird generalized emergent probability there are many pertinent questions about his cognitional theory which must be asked and answered. In this paper I (1) review some of Lonergan’s attempts to diagram cognitional theory and discuss what insights they do and do not express, (2) elaborate and defend principles for making our formulations of insight into insight rigorous and clear, and (3) attempt to build up a diagram which makes full use of those principles in a maximally expressive way. (shrink)

The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though determined (...) by an ideological direction (Conservative or Liberal), the political speech still preserves his tendency towards aesthetic autonomy. 2. oratorical merits (hinting at aesthetic autonomy) can turn into practices of political autonomy, diffidence and, then, dissidence. Methodologically, two types of aesthetic practices organize the chosen materials; both the diffident script and the theatre of dissidence help us to perceive how the philosophical and moral meaning of these practices could change into an ideology of dissidence. The formalization of diffident practices, their conversion to outspoken dissidence, also corresponds to the symmetrical symptom of unlimited authority; when old-time politicians warned on ‘Caesarism,’ ‘Vizierate,’ ‘Despotism,’ ‘Omnipotence’ or ‘Tyranny,’ the Romanian society had already been training for a long experience of ‘dictatorship.’. (shrink)

In this paper is considered the linguistic approach to the problem of the relationship between a human being and reality. If in the Christian tradition language was given by God and God endowed human beings with the ability to name objects, then in the 17th century German speaking philosophers, following Descartes’ turn to the ego, had changed this thought. Since Herder and Humboldt language has been considered not as a representation of reality, but as a representation of a human mind. (...) These thinkers were the first who revealed the inseparable interdependence of human thinking and language, the influence of language on the socio- cultural lifeworld of human beings, and the role of language in the development of the world-view. (shrink)

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of (...) class='Hi'>pictures: the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

Michel Foucault defends the thesis that man is a recent invention and with a foretold death. In this article, we will present a study that Foucault carried out on Kant’s Anthropology from a Pragmatic Point of View, and his complementary thesis, as the basis of the thesis of the birth and death of the subject in modernity. Foucault’s philosophy will be presented as a chapter of Kantianism, a critique of anthropological reason that is rooted in Heidegger’s study on Kant. In (...) addition to identifying what influenced the creation of these philosophies, we seek to understand the complex anthropological problems that overlap contemporary philosophy and psychoanalysis. Keywords: Foucault; Kant; Heidegger; death of the subject; anthropology. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences (...) of pictures, like sequences of utterances, can be used to tell stories. Wordless picture books, comics, and film are cases in point. In this paper I pick up the project of providing a dynamic semantic account of pictorial story-telling, started by Abusch (2012) and continued by Abusch & Rooth (2017); Maier & Bimpikou (2019); Fernando (2020). More specifically, I propose here a semantics of speech and thought bubbles by adding event reference to PicDRT. To get there I first review the projection-based semantics for pictures (section 1), noting the fundamental distinction between symbolic and iconic meaning that makes speech bubbles especially interesting (section 2). I then review the dynamic PicDRT framework for pictorial narratives (section 3), add events (section 4), and propose an account of speech bubbles as quotational event modification (section 5). I end with a brief look at other conventional, symbolic enrichments in comics (section 6). (shrink)

The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift. – Albert Einstein -/- In my philosophical discussions with elementary school children, I use questions not just to uncover hidden assumptions the children may have, but to lead them to a place of aporia – puzzlement, a place of “not-knowing.” If some children assume that to be brave is to be fearless, (...) I not only ask why they assume this, but go on to ask how it is that we can be called brave, if we’re not even afraid? What’s there to be brave about? With this question, I try to bring the children to a place of “aporia,” a place of puzzlement. Aporia empowers thinking. -/- Philosophy is the pursuit of clear thinking; it is also the pursuit of wisdom, a deeper truth (see quote). -/- Wonder captivates us and connects us to the world around us. In “doing” philosophy with children, this sense of wonder is expanded upon. In their book, Journey of the Universe Swimme and Tucker state, “For or a young mammal, behavior is open-ended in a way that is rarer in adults… In a word, what often occupies their consciousness is play…. they enter into many kinds of relationships out of sheer curiosity.” -/- In doing philosophy with children, we play with ideas. Shobhan Lyons states in her article, “What makes a philosopher?”, in Philosophy Now, “Linking philosophy and truth is a common approach; but I believe that philosophy is less a search for truth and more an engagement with possibilities; …” For example, whereas fear may be a good thing in some instances, it may not be in others. Lying may be necessary in some instances and a good thing (although, it doesn’t imply that lying in itself is a good thing), and in other cases it may be harmful and hurtful. So how do you decide? This is where navigational skills come into play. What may work in some instances may in fact be the entirely wrong thing to do in other cases. So how can you tell? This is where you need to learn how to respond to complex situations. -/- I conclude with examples of aporia questions for 8 picture book stories. “Dragons and Giants,” in Frog and Toad Together, by Arnold Lobel: -/- The question is, are Frog and Toad brave? Children often conclude that to be brave you cannot be afraid. Since Frog and Toad are afraid, they cannot be brave. -/- An aporia question is, whether you can be brave without being afraid? If you are not in the least afraid, what makes you brave? Another aporia question is, whether Frog and Toad would be foolish rather than brave if they were not to jump out of the way of the snake, the avalanche or the hawk. A third aporia question has to do with the question how we know we are foolish or brave when dealing with that which is dangerous. -/- . (shrink)

There is a type of metaphysical picture that surfaces in a range of philosophical discussions, is of intrinsic interest, and yet remains ill-understood. According to this picture, the world contains a range of standpoints relative to which different facts obtain. Any true representation of the world cannot but adopt a particular standpoint. The aim of this paper is to propose a regimentation of a metaphysics that underwrites this picture. Key components are a factive notion of metaphysical relativity, a deflationary notion (...) of adopting standpoints, and two kinds of valid inference, one that allows one to abandon standpoints and one that does not. To better understand how theories formulated in terms of this framework are situated in dialectical space, I sketch a theory in the philosophy of time that admits both temporal and atemporal standpoints. (shrink)

The Japanese scholar Miura Baien (1723-1789) worked throughout his life to produce a philosophical analysis of the natural world. Misinterpretations of his intentions arise from drawing diagrams on his behalf that are inconsistent with his text, or by applying to his text Western academic terms that are quite foreign to his thought. When Baien's text is examined in his own terms we can understand its significant role in the scientific thought of the Edo period.

The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear on (...) the question of whether there are such things as “purely visual” arguments. I shall draw on Wittgenstein’s remarks in the Blue and Brown Books and in Philosophical Investigations in order to argue that al- though visual images may occur as elements of argumentation, broadly conceived, it is a mistake to think that there are purely visual arguments, in the sense of illative moves from premises to conclusions that are conveyed by images alone, without the support or framing of words. (shrink)

This thesis argues that the nature of disability is, currently, fundamentally misunderstood. Current approaches to disability are nounal and seek to determine the locus of disability with the intention of better understanding the phenomenon of disability. In contrast, this thesis offers an adverbial perspective on disability and shows how disability is experienced as an increased and personally irremediable impediment to daily-living tasks or broader goals. This thesis holds that impediment is not a function of either biological individuality or the Social, (...) but of a specific relation between the individual and their environment. The following delineates the Picture Theory of Disability — a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. The theory is born of Humean sentimentalism and elements of Wittgenstein’s Picture Theory of Language, and shows when, where, and how disability is experienced. (shrink)

Do representational pictures have propositional contents? The current paper argues that the characteristic contents of pictures are predicative rather than propositional: pictures characterise things as looking certain ways, and they thereby express properties of visual perspectives. The paper argues that the characteristic predicative contents of pictures are nonetheless able to feature in fully-fledged propositional contents once they are combined with contents of other suitable sorts. Various facts about communicative uses of pictures are then explained. The (...) paper concludes by considering the bearing of its conclusions upon questions about the relationships between linguistic representation and pictorial representation. (shrink)

Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, (...) such arguments can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; (...) and cover songs as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

Recently, we have proposed quantum language ( or the linguistic Copenhagen interpretation of quantum mechanics). Quantum languages describe both classical and quantum systems and therefore have great power to solve almost all philosophical problems. Thus, we believe that quantum language can be regarded as the language of science. Therefore, it makes sense to study Wittgenstein's picture theory within the framework of quantum language, since Wittgenstein's language (i.e., the language that he supposed, but didn't define in his book "Tractatus Logico-Philosophicus") may (...) be a particular subclass of quantum language. In this paper, we show that a class of binary projective measurements in classical quantum language has a logical structure. And thus, the proposition that Wittgenstein studied in his book can be regarded as a binary projective measurement in classical quantum language. Therefore, we conclude that Wittgenstein's language is realized as the central part of classical quantum language. If so, we think that his picture theory should be praised not only from a philosophical point of view but also from a scientific point of view. (shrink)

This is contextualizing of a monk of the Ramakrishna Order who became one of the Sangha's most perfect and zealous Presidents. When the Western world is clamouring for the removal of celibacy, the Ramakrishna Order and its monks show the real possibilities of lives in the spirit. This is NOT a hagiography. Non-Hindu novice masters will benefit hugely from reading this review and the review book. The review also focuses on the philosophy of monasticism and separately, on seeing or darsana.

In Spanish, tecnicas para filmar peliculas amateur, Orson Welles, Kubrick.

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...) constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

Certain simple thoughts about pictures suggest that the contents of pictures are closely bound to vision. But how far can the striking features of depiction be accounted for merely in terms of the especially visual contents which belong to pictures, without considering, for example, any issues concerning the nature of the visual experiences with which pictures provide us? This article addresses that question by providing an account of the distinctively visual contents belonging to pictures, and (...) by using that account to explain many notable general facts about depiction. Some implications of the resulting framework for the main stream of current theorizing about pictorial representation are also discussed. (shrink)

This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...) philosophical context, to acquire meaning. Yet it is no part of his intention to demonstrate logically that ordinary sensations are not intrinsically meaningful. This is a tempting yet misleading picture, the picture also expressed through the idea of Augustine’s child who is conceptually articulateprior to learning how to talk. This picture lies behind the born Crusoe, an idea at the centre of the dichotomy between language as essentially shared and essentially shareable, a dichotomy considered here to result from a misconception of two quite separate but related aspects of Wittgenstein’s treatment offollowing a rule. The notion of a misleading picture, in both its pre-theoretical and philosophical aspects, also plays a crucial role in a treatment of Saul Kripke’s well-known “Postscript: Wittgenstein and Other Minds.”. (shrink)

Aristotle’s works on natural science show that he was aware of the affective powers of colour. At De an. 421a13, for example, he writes that hard-eyed animals can only discriminate between frightening and non-frightening colours. In the Nicomachean Ethics, furthermore, colours are the source of pleasures and delight. These pleasures, unlike the pleasures of touch and taste, neither corrupt us nor make us wiser. Aristotle’s views on the affective powers of colours raise a question about the limits he seems to (...) place on the affective powers of pictures at De an. 427b15-24, where he implies that pictures do not affect us immediately. In this paper, I examine the contrast between the affective powers of colour and the affective powers of pictures. I argue that colours can give rise to pleasure and pain in themselves and generate emotions incidentally. Similarly, pictures can please us or affect us in themselves and incidentally. In light of this account, I suggest that, on a plausible reading of De an. 427b15-24, the affective powers of pictures as mimetic objects are not immediate because they require an intervening cause in order to be effective. The representations of pictures and statues affect us either with the mediation of deception or with the mediation of interpretation. (shrink)

JOURNAL OF THE HISTORY OF PHILOSOPHY PRIZE for the best published book in the history of philosophy [Awarded in 2010] _______________ -/- Although it is widely recognized that David Hume's A Treatise of Human Nature (1739-40) belongs among the greatest works of philosophy, there is little agreement about the correct way to interpret his fundamental intentions. It is an established orthodoxy among almost all commentators that skepticism and naturalism are the two dominant themes in this work. The difficulty has been, (...) however, that Hume's skeptical arguments and commitments appear to undermine and discredit his naturalistic ambition to contribute to "the science of man". This schism appears to leave his entire project broken-backed. The solution to this riddle depends on challenging another, closely related, point of orthodoxy: namely, that before Hume published the Treatise he removed almost all material concerned with problems of religion. Russell argues, contrary to this view, that irreligious aims and objectives are fundamental to the Treatise and account for its underlying unity and coherence. It is Hume's basic anti-Christian aims and objectives that serve to shape and direct both his skeptical and naturalistic commitments. When Hume's arguments are viewed from this perspective we can solve, not only puzzles arising from his discussion of various specific issues, we can also explain the intimate and intricate connections that hold his entire project together. This "irreligious" interpretation provides a comprehensive fresh account of the nature of Hume's fundamental aims and ambitions in the Treatise. It also presents a radically different picture of the way in which Hume's project was rooted in the debates and controversies of his own time, placing the Treatise in an irreligious or anti-Chrisitan philosophical tradition that includes Hobbes, Spinoza and freethinking followers. Considered in these terms, Hume's Treatise constitutes the crowning achievement of the Radical Enlightenment. (shrink)

Although cognitivism has lost some ground recently in the philosophical circles, it is still the favorite view of many scholars of emotions. Even though I agree with cognitivism's insight that emotions typically involve some type of evaluative intentional state, I shall argue that in some cases, less epistemically committed, non-propositional evaluative states such as mental pictures can do a better job in identifying the emotion and providing its intentional object. Mental pictures have different logical features from propositions: they (...) are representational, and some may or may not portray actual objects aptly. Yet, unlike propositional attitudes, mental pictures do not allow for objective criteria by which one can judge that a certain picture is an apt portrait of someone or something. (shrink)

This chapter focuses on picture theory, which is sometimes spoken of as a theory of the proposition. By a proposition, Wittgenstein like Frege means something that determines its sense by means of a correlation between the mode of combination of its constituent symbols and the structure of its sense. It has been an orthodoxy amongst Tractatus interpreters, and continues to be such in the wider philosophical community, that Wittgenstein follows the Russell in offering a correspondence theory of truth. The expression (...) of a Tractarian fact provides that fact's mode of combination, and from here there can be no further question as to the ontological types of its constituents. Tractarian facts, it is however added, are not truth conditions but items whose existence explains the obtaining of truth conditions: a Tractarian atomic fact is not a truth condition but a truthmaker. (shrink)

According to the cliché a picture is worth a thousand words. But this is a canard, for it vastly underestimates the expressive power of many pictures and diagrams. In this note we show that even a simple map such as the outline of Manhattan Island, accompanied by a pointer marking North, implies a vast infinity of statements—including a vast infinity of true statements.

This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.