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 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)

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 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)

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)

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)

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)

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)

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)

To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this idea. -/- Inwieweit spielt die Ästhetik im Leben eine Rolle? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Idee.

Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, (...) Susanne K. Langer und John M. Krois sowie der Analyse eines Tapes der Schweizer Videokünstlerin Pipilotti Rist gilt es diese ursprünglich von der formalen Ästhetik aufgeworfene These zu untermauern. (shrink)

The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through (...) aesthetic experience. Therefore, it is necessary to analyse images not only with respect to their historical aspects based on experiences with the world but to emphasise their power to shape the future by their potential to affect our actions. - / - Die Fähigkeit „Bilder“ unserer Erfahrungen mit der Welt zu formen (Bildkraft) und unser Streben und Wollen (Tatkraft) nach ihnen auszurichten, das ist es, was den Menschen nach Cassirer – und nachfolgend auch nach Langer und Krois – auszeichnet. Voraussetzung dafür die Bilder des Lebens und das, was wir von ihnen halten, zu objektivieren und Anderen zu kommunizieren, bilden Techniken. Die Kunst als Technik ist darin eine Meisterin, indem sie uns über die ästhetische Erfahrung Anschauungen Anderer von ihren Erfahrungen und Wünschen, lebendig vor Augen zu führen vermag. Bei der Analyse von Bildern gilt es insofern nicht nur deren geschichtsträchtigen, auf Erfahrungen mit der Welt beruhenden Aspekte zu untersuchen, sondern vor allem auch deren zukunftsprägendes und damit unsere Tatkraft ansprechendes Potential. (shrink)

What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of (...) class='Hi'>Susanne Langer. Sculpture organizes the surrounding space when we see that space as defined by the potential for action of the sculpted object. (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)

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

Door de eeuwen heen hebben talloze vrouwen zich verdiept in een veel-heid aan filosofische thema’s, maar vaak zijn deze denkers onzichtbaar gebleven. Van de 17e-eeuwse filosofe Anna Maria van Schurman zullen sommigen wel hebben gehoord, maar wie kent haar tijdgenote Anne Conway? Uit de 20e eeuw is Hannah Arendt inmiddels wereldberoemd, maar de namen Susanne Langer, Gloria Anzaldúa en Werewere Liking zullen misschien alleen de specialisten bekend in de oren klinken. Vele vrouwelijke denkers waren uitgesloten van officiële onderwijsin-stellingen (...) en namen hun toevlucht tot andere vormen van filo so fie -beoefening, zoals briefwisselingen en essays. En dat levert een onschat-bare rijkdom aan filosofische bronnen op. In dit nieuwe standaardwerk worden 67 vrouwelijke denkers bij elkaar gebracht; van de Oudheid tot onze eeuw; van islamitische en katholieke mystica’s, een 18e-eeuwse Nederlandse logica tot een Nigeriaanse politiek filosofe. (shrink)

MICHELLE MARDER KAMHI offers an in-depth response to The Aesthetics Symposium. In addition to answering many of the contributors’ objections to What Art Is: The Esthetic Theory of Ayn Rand, she offers a critique of their own theses—in particular, Barry Vacker’s claim that chaos theory is implicit in Rand’s aesthetics, Jeff Riggenbach’s argument that much of Rand’s theory was anticipated by Susanne Langer and Stephen Pepper, and Roger Bissell’s suggestion that the concept of a microcosm be applied to (...) Rand’s view of the function of art. (shrink)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools of (...) Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (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 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 reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -/- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...) as parts of cultural semiotic processes. That means, it is not the view of something (epistemology) but the view of someone (culture) that is shown by the pictures. - I - -/- Kommunizieren wir über Bilder? Falls das zutrifft, stellt sich die Frage, ob daran auch deren komplexe dynamische Erscheinungsweise Anteil hat? Über die Analyse eines Titelblatts der Zeitschrift Jugend von 1896 und die Betrachtung der Forschungen zur Eigenlogik von Bildern in Bildwissenschaft, Ikonologie und Kultureller Anthropologie soll diesen Fragen nachgegangen werden. Die Auswertung veranlasst, sich von der klassischen, erkenntnisorientierten, ästhetischen Theorie zu distanzieren und sie als kulturtheoretische, semiotische Theorie neu zu fassen. Die Neuausrichtung wird im Verständnis des Gehalts der Bilder im medialen Transfer greifbar: Statt in einer Ansicht von etwas (Erkenntniswert), so eröffnet sich, liegt er in einer Ansicht über etwas (Meinung/Kulturwert). (shrink)

This paper presents a survey of the literature on the problem of contingency in science. The survey is structured around three challenges faced by current attempts at understanding the conflict between “contingentist” and “inevitabilist” interpretations of scientific knowledge and practice. First, the challenge of definition: it proves hard to define the positions that are at stake in a way that is both conceptually rigorous and does justice to the plethora of views on the issue. Second, the challenge of distinction: some (...) features of the debate suggest that the contingency issue may not be sufficiently distinct from other philosophical debates to constitute a genuine, independent philosophical problem. And third, the challenge of decidability: it remains unclear whether and how the conflict could be settled on the basis of empirical evidence from the actual history of science. The paper argues that in order to make progress in the present debate, we need to distinguish more systematically between different expressions that claims about contingency and inevitability in science can take. To this end, it introduces a taxonomy of different contingency and inevitability claims. The taxonomy has the structure of an ordered quadruple. Each contingency and each inevitability claim contains an answer to the following four questions: (how) are alternatives to current science possible, what types of alternatives are we talking about, how should the alternatives be assessed, and how different are they from actual science? (shrink)

This paper analyzes the shifts in Wilhelm Windelband’s ‘critical philosophy of values’ as it developed hand in hand with his understanding of relativism. The paper has two goals. On the one hand, by analyzing the role that relativism played in his philosophical project, it seeks to contribute to a better understanding of Windelband's intellectual development in the context of historicism and Neo-Kantianism. On the other hand, by highlighting Windelband’s contribution to the understanding of relativism, it sheds light on an important (...) episode in the history of that problem. The paper distinguishes between three phases in Windelband’s thinking and shows that his views about relativism changed in close connection with his conception of history. The early Windelband thought that historicism was compatible with absolute validity because he was firmly convinced of historical progress. The mature Windelband rejected progress as a means for justifying validity and put the problem of relativism into sharp relief. In response to the failure of his mature philosophy to fend off relativism, the later Windelband strengthened the role of history again. The paper concludes that Windelband’s significance lies not in his arguments against relativism, but rather in having furthered philosophical understanding of the problems at stake. (shrink)

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)

A common method for warranting the historical adequacy of philosophical claims is that of relying on historical case studies. This paper addresses the question as to what evidential support historical case studies can provide to philosophical claims and doctrines. It argues that in order to assess the evidential functions of historical case studies, we first need to understand the methodology involved in producing them. To this end, an account of historical reconstruction that emphasizes the narrative character of historical accounts and (...) the theory-laden character of historical facts is introduced. The main conclusion of this paper is that historical case studies are able to provide philosophical claims with some evidential support, but that, due to theory-ladenness, their evidential import is restricted. (shrink)

Previous research in Explainable Artificial Intelligence (XAI) suggests that a main aim of explainability approaches is to satisfy specific interests, goals, expectations, needs, and demands regarding artificial systems (we call these “stakeholders' desiderata”) in a variety of contexts. However, the literature on XAI is vast, spreads out across multiple largely disconnected disciplines, and it often remains unclear how explainability approaches are supposed to achieve the goal of satisfying stakeholders' desiderata. This paper discusses the main classes of stakeholders calling for explainability (...) of artificial systems and reviews their desiderata. We provide a model that explicitly spells out the main concepts and relations necessary to consider and investigate when evaluating, adjusting, choosing, and developing explainability approaches that aim to satisfy stakeholders' desiderata. This model can serve researchers from the variety of different disciplines involved in XAI as a common ground. It emphasizes where there is interdisciplinary potential in the evaluation and the development of explainability approaches. (shrink)

Although artificial intelligence has been given an unprecedented amount of attention in both the public and academic domains in the last few years, its convergence with other transformative technologies like cloud computing, robotics, and augmented/virtual reality is predicted to exacerbate its impacts on society. The adoption and integration of these technologies within industry and manufacturing spaces is a fundamental part of what is called Industry 4.0, or the Fourth Industrial Revolution. The impacts of this paradigm shift on the human operators (...) who continue to work alongside and symbiotically with these technologies in the industry bring with it novel ethical issues. Therefore, how to design these technologies for human values becomes the critical area of intervention. This paper takes up the case study of robotic AI-based assistance systems to explore the potential value implications that emerge due to current design practices and use. The design methodology known as Value Sensitive Design (VSD) is proposed as a sufficient starting point for designing these technologies for human values to address these issues. (shrink)

This paper analyses the methodological writings of the nineteenth century historian Johann Gustav Droysen. It explores how Droysen integrates the political and methodological aspects of historiography. The paper shows that Droysen relies on a procedure of “affirmative genealogy” which, in turn, is based on a concept of historical continuity. On Droysen’s account, historical continuity enables “historical understanding”. And the understanding of historical continuities provides the statesman – the “practical historian” – with a solid basis for political decision making.

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: Recently a bold and admirable interpretation of Chrysippus’ position on the Sorites has been presented, suggesting that Chrysippus offered a solution to the Sorites by (i) taking an epistemicist position1 which (ii) made allowances for higher-order vagueness. In this paper I argue (i) that Chrysippus did not take an epistemicist position, but − if any − a non-epistemic one which denies truth-values to some cases in a Sorites-series, and (ii) that it is uncertain whether and how he made allowances (...) for higher-order vagueness, but if he did, this was not grounded on an epistemicist position. (shrink)

ABSTRACT: For the Stoics, a syllogism is a formally valid argument; the primary function of their syllogistic is to establish such formal validity. Stoic syllogistic is a system of formal logic that relies on two types of argumental rules: (i) 5 rules (the accounts of the indemonstrables) which determine whether any given argument is an indemonstrable argument, i.e. an elementary syllogism the validity of which is not in need of further demonstration; (ii) one unary and three binary argumental rules which (...) establish the formal validity of non-indemonstrable arguments by analysing them in one or more steps into one or more indemonstrable arguments (cut type rules and antilogism). The function of these rules is to reduce given non-indemonstrable arguments to indemonstrable syllogisms. Moreover, the Stoic method of deduction differs from standard modern ones in that the direction is reversed (similar to tableau methods). The Stoic system may hence be called an argumental reductive system of deduction. In this paper, a reconstruction of this system of logic is presented, and similarities to relevance logic are pointed out. (shrink)

This paper seeks to re-assess Dilthey’s descriptive psychology in light of the charge of “psychologism”. The paper has two goals. First, I seek to give a fine-grained reconstruction of Dilthey’s foundational project. I provide a systematic account of how Dilthey sought to ground the knowledge claims of the human sciences in inner experience. I place special emphasis on Dilthey’s concept of “articulation” which mediates between inner experience and psychological knowledge, as well as between individual psychology and knowledge about the socio-historical (...) world. Second, I re-assess the allegedly “psychologistic” aspects of Dilthey’s philosophy. I reconstruct how Dilthey’s critics Husserl, Windelband and Rickert understood psychologism, highlight commonalities between them and explain why Dilthey’s approach seemed “psychologistic” from their perspective. At the same time, I show that Dilthey’s philosophical thinking goes against the very presuppositions that the “psychologism”-charges are usually based upon. The paper concludes with some reflections on the transition from Dilthey's descriptive psychology to his mature hermeneutics. (shrink)

The purpose of this paper is to challenge some widespread assumptions about the role of the modal axiom 4 in a theory of vagueness. In the context of vagueness, axiom 4 usually appears as the principle ‘If it is clear (determinate, definite) that A, then it is clear (determinate, definite) that it is clear (determinate, definite) that A’, or, more formally, CA → CCA. We show how in the debate over axiom 4 two different notions of clarity are in play (...) (Williamson-style "luminosity" or self-revealing clarity and concealeable clarity) and what their respective functions are in accounts of higher-order vagueness. On this basis, we argue first that, contrary to common opinion, higher-order vagueness and S4 are perfectly compatible. This is in response to claims like that by Williamson that, if vagueness is defined with the help of a clarity operator that obeys axiom 4, higher-order vagueness disappears. Second, we argue that, contrary to common opinion, (i) bivalence-preservers (e.g. epistemicists) can without contradiction condone axiom 4 (by adopting what elsewhere we call columnar higher-order vagueness), and (ii) bivalence-discarders (e.g. open-texture theorists, supervaluationists) can without contradiction reject axiom 4. Third, we rebut a number of arguments that have been produced by opponents of axiom 4, in particular those by Williamson. (The paper is pitched towards graduate students with basic knowledge of modal logic.). (shrink)

This chapter traces the development of relativist ideas in nineteenth-century debates about history and historical knowledge. It distinguishes between two contexts in which these ideas first emerged. First, the early-to-mid nineteenth-century encounter between speculative German idealism and professional historiography. Second, the late nineteenth-century debate between hermeneutic philosophy and orthodox Neo-Kantianism. The paper summarizes key differences between these two contexts: in the former, historical ontology and historical methodology formed a unity, in the latter, they came apart. As a result, the idea (...) of universal history became increasingly problematic. In light of these differences, the paper seeks to (partially) explain why it was only towards the late-nineteenth century that historical relativism became an explicit concern. (shrink)

In this paper I revisit nineteenth-century debates over historical objectivity and the political functions of historiography. I focus on two central contributors to these debates: Leopold von Ranke and Johann Gustav Droysen. In their takes on objectivity and subjectivity, impartiality and political engagement I reveal diametrically opposed solutions to shared concerns: how can historians reveal history to be meaningful without taking recourse to speculative philosophy? And how can they produce a knowledge that is relevant to the present when the project (...) of “exemplary” history has been abandoned? I put a special focus on the relativist themes in Ranke’s and Droysen’s answers to these questions. Ranke’s demand for impartiality leads him to think of all historical epochs as equally valid, while Droysen’s emphasis on the historian’s subjectivity relativizes historical truth. In order to explain why Ranke and Droysen nevertheless remained unfazed by the problem of historical relativism, I analyze their normative conceptions of the historian’s disciplinary ethos. I show that Ranke and Droysen think of objective impartiality and subjective partiality not only in methodological terms, but also in terms of justice and ethic duty. This normative element secures the professional study of history an ethical-political relevance for the present. (shrink)

Due to weak economies or ill-adapted public policies aggravated by the pandemic, official services dedicated to the unconditional reception and support of people in psychosocial distress in large urban areas are often put to the test. Here is the approach of the action research “Evolution after COVid-19 of the Invisibility of Precarities” (ECOVIP) dedicated to this phenomenon, as well as its first results concerning the precarity of unemployed “young” seniors (50-64 years old) in Lyon, France. This participative research is based (...) on workshops that bring together professionals from both the front-line psychosocial field and other fields such as employment or work, and in which they are offered a free expression of their lived situations of reception of precarious people. The first results provided by the scientific and transparent analysis of these exchanges show both a fairly precise understanding of the institutional decision leading to increasing invisibility, and the emergence of innovative professional resources capable of curbing it. (shrink)

ABSTRACT: For the most part, this paper is not a philosophical paper in any strict sense. Rather, it focuses on the numerous exegetical puzzles in Sextus Empiricus’ two main passages on time (M X.l69-247 and PH III.l36-50), which, once sorted, help to explain how Sextus works and what the views are which he examines. Thus the paper provides an improved base from which to put more specifically philosophical questions to the text. The paper has two main sections, which can, by (...) and large, be read independently. Each is about a topic which, to my knowledge, has so far not been treated in detail. The first section is concemed with the argument structures of the two main passages on time in Sextus, pointing out various irregularities in the overall argument in both passages, as well as parallels and differences, and asks the question what kinds of scepticism and sceptical methods we find in the various parts of each passage. The second section focuses on the doxographical accounts of time in the two passages: what they are, how they compare with surviving parallels, to what philosophers we can attribute those accounts for which Sextus himself provides either no, or more than one, possible ascriptions, and how Sextus treats the doxographical material. This discussion is inspired by the contributions Michael Frede offered on this topic the day before his untimely death. (shrink)

ABSTRACT: This paper traces the earliest development of the most basic principle of deduction, i.e. modus ponens (or Law of Detachment). ‘Aristotelian logic’, as it was taught from late antiquity until the 20th century, commonly included a short presentation of the argument forms modus (ponendo) ponens, modus (tollendo) tollens, modus ponendo tollens, and modus tollendo ponens. In late antiquity, arguments of these forms were generally classified as ‘hypothetical syllogisms’. However, Aristotle did not discuss such arguments, nor did he call any (...) arguments ‘hypothetical syllogisms’. The Stoic indemonstrables resemble the modus ponens/tollens arguments. But the Stoics never called them ‘hypothetical syllogisms’; nor did they describe them as ponendo ponens, etc. The tradition of the four argument forms and the classification of the arguments as hypothetical syllogisms hence need some explaining. In this paper, I offer some explanations by tracing the development of certain elements of Aristotle’s logic via the early Peripatetics to the logic of later antiquity. I consider the questions: How did the four argument forms arise? Why were there four of them? Why were arguments of these forms called ‘hypothetical syllogisms’? On what grounds were they considered valid? I argue that such arguments were neither part of Aristotle’s dialectic, nor simply the result of an adoption of elements of Stoic logic, but the outcome of a long, gradual development that begins with Aristotle’s logic as preserved in his Topics and Prior Analytics; and that, as a result, we have a Peripatetic logic of hypothetical inferences which is a far cry both from Stoic logic and from classical propositional logic, but which sports a number of interesting characteristics, some of which bear a cunning resemblance to some 20th century theories. (shrink)

The professionalization of the study of history in the Nineteenth Century made possible a new way of thinking about the history of philosophy: the thought emerged that philosophy itself might be relative to time, historical culture, and nationality. The simultaneous demise of speculative metaphysics scattered philosophers’ confidence that the historical variance of philosophical systems could be viewed in terms of the teleological self-realization of reason. Towards the late Nineteenth Century, philosophers began to explicitly address the worry that all philosophical systems (...) might have only relative validity. This paper compares two key figures in late-nineteenth-century debates concerning historical relativism: Wilhelm Windelband and Wilhelm Dilthey. Beneath the deep disagreements between these two authors, it reveals their common concern to immunize philosophy from the threat of historical relativism. The paper traces how both philosophers sought to fend off relativism by defending the idea of an ahistorical and permanent stratum of philosophical thinking. And it argues that although they succeeded in blocking historical versions of relativism, they did so at the cost of incurring a relativism vis-à-vis philosophical systems. This relativism turned out to be rooted not in the historicity of philosophy but in the timeless essence of philosophical reasoning itself. (shrink)

ABSTRACT: In antiquity we encounter a distinction of two types of hypothetical syllogisms. One type are the ‘mixed hypothetical syllogisms’. The other type is the one to which the present paper is devoted. These arguments went by the name of ‘wholly hypothetical syllogisms’. They were thought to make up a self-contained system of valid arguments. Their paradigm case consists of two conditionals as premisses, and a third as conclusion. Their presentation, either schematically or by example, varies in different authors. For (...) instance, we find ‘If (it is) A, (it is) B; if (it is) B, (it is) C; therefore, if (it is) A, (it is) C’. The main contentious point about these arguments is what the ancients thought their logical form was. Are A, B, C schematic letters for terms or propositions? Is ‘is’, where it occurs, predicative, existential, or veridical? That is, should ‘A esti’ be translated as ‘it is an A’, ‘A exists’, ‘As exist’ or ‘It is true/the case that A’? If A, B, C are term letters, and ‘is’ is predicative, are the conditionals quantified propositions or do they contain designators? If one cannot answer these questions, one can hardly claim to know what sort of arguments the wholly hypothetical syllogisms were. In fact, all the above-mentioned possibilities have been taken to describe them correctly. In this paper I argue that it would be mistaken to assume that in antiquity there was one prevalent understanding of the logical form of these arguments - even if the ancients thought they were all talking about the same kind of argument. Rather, there was a complex development in their understanding, starting from a term-logical conception and leading to a propositional-logical one. I trace this development from Aristotle to Philoponus and set out the deductive system on which the logic of the wholly hypothetical syllogisms was grounded. (shrink)