The ontology of marketing, particularly the question of what products and brands are, is still largely unexplored. The ontological status of brands hinges on their relationship with products. Idealists about brands see perceptual or cognitive acts of consumers grouped under the heading ‘brand awareness’ or ‘brand image’ as constitutive for the existence of brands so that, in their view, tools of the marketing mix can influence relevant mental dispositions and attitudes. Brand realists, on the other hand, reject the view of (...) brands as mere marks or names and interpret them as emergent products with properties that afford branding in the sense of Gibson’s ecological psychology. Brand strength is a function of the degree to which brands occupy defensible niches in product space. Branding as a process involves changing external or internal boundaries of products. Several arguments are proposed in favor of brand realism. The fragments of an ontology of marketing are developed in a broadly Aristotelian framework. Brand realism has significant implications for a new understanding of issues ranging from the effects of advertising to financial brand valuation, the nature of trademarks, and marketing strategy in general. It permits one to treat brand equity as a real phenomenon not dependent on associations, attitudinal states such as brand loyalty, or spurious constructs such as brand character or personality. (shrink)

Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...) by Leonardo da Vinci, action movie in the series of Bond films), and in the musical modality (Blues music). The static analyses in the tradition of structuralism are replaced by morphodynamic schemes, by gesture and glance vectors, paths of pursuit and scenarios of conflict in action movies and eventually by harmonic sequences in the Blues. In this dynamic perspective, the notion of narrativity gains a different profile and it is freed from the preference for linguistic or logical categories. (shrink)

Kendall Walton’s account of make-believe takes the social dimension of imagination into account. In this paper I aim to extend this suggestion and argue that works of fiction allow for encounters with concrete (yet fictitious) persons with a distinct point of view and a discernible perspective. These encounters allow us to contrast the perspective(s) that emerge from the work with one’s own. I will then discuss two moments of the social dimension: imagining fictional scenarios is a social practice, a game (...) we play together and in which we encounter others. Both of these moments shed light on the central role of fiction for the social community in which it is embedded and show how engaging with works of fiction can contribute to the inner cohesion and to the persistence of the group. (shrink)

One of the main contentions of the framework for Responsible Innovation (RI) is that social and ethical aspects have to be addressed by deliberative engagement with stakeholders and the wider public throughout the innovation process. The aim of this article is to reflect on the question to what extent is deliberative engagement suitable for conducting RI in business. We discuss several tensions that arise when this framework is applied in the business context. Further, we analyse the place of deliberative engagement (...) in several theories of business ethics. We conclude that there remains a tension between the ideal of RI and the way in which the competitive market operates. Hence, RI scholars should reflect more critically on changes that are required in the market in order to make RI possible, modify the ideal of deliberative engagement for RI in business, or attempt to strike a balance between these two responses. (shrink)

ABSTRACT:Many companies engage in dialogue with nongovernmental organizations about societal issues. The question is what a regulative ideal for such dialogues should be. In the literature on corporate social responsibility, the Habermasian notion of communicative action is often presented as a regulative ideal for stakeholder dialogue, implying that actors should aim at consensus and set strategic considerations aside. In this article, we argue that in many cases, communicative action is not a suitable regulative ideal for dialogue between companies and NGOs. (...) We contend that there is often an adversarial element in the relation between companies and NGOs, and that an orientation towards consensus can be in tension with this adversarial relation. We develop an alternative approach to stakeholder dialogue called ‘agonistic deliberation.’ In this approach, conflict and strategic considerations play a legitimate and, up to a certain point, desirable role. (shrink)

The paper argues that Gareth Evans’ argument for transparent self-knowledge is based on a conflation of doxastic transparency with ascriptive transparency. Doxastic transparency means that belief about one’s own doxastic state, e.g., the belief that one thinks that it will rain, can be warranted by ordinary empirical observation, e.g., of the weather. In contrast, ascriptive transparency says that self-ascriptions of belief, e.g., “I believe it will rain”, can be warranted by such observation. We first show that the thesis of doxastic (...) transparency is ill-motivated and then offer a non-epistemic interpretation of ascriptive transparency by reference to the theory of explicit expressive acts: “I think it will rain” requires attendance to the weather because the utterance expresses a belief about the weather, not about ourselves. This will allow us to avoid what is often called “the puzzle of transparent self-knowledge” while remaining faithful to Evans’ linguistic observations. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...) FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

The central idea of this essay is that philosophical thinking revolves around aporetic clusters, i.e., sets of individually plausible, but collectively inconsistent propositions. The task of philosophy is to dissolve such clusters, either by showing that the propositions in question, contrary to first impression, are compatible with each other, or by showing that it is permissible to abandon at least one of the propositions involved. This view of philosophical problems not only provides a very good description of well-understood philosophizing, but (...) is also better suited than others to explain some seemingly strange characteristics of philosophy, most notably its armchair character, the large variety of incommensurable doctrines by which it is characterized, and its concern with its own history. (shrink)

According to the transparency approach, achievement of self-knowledge is a two-stage process: first, the subject arrives at the judgment ‘p’; second, the subject proceeds to the judgment ‘I believe that p.’ The puzzle of transparency is to understand why the transition from the first to the second judgment is rationally permissible. After revisiting the debate between Byrne and Boyle on this matter, I present a novel solution according to which the transition is rationally permissible in virtue of a justifying argument (...) that begins from a premise referring to the mental utterance that is emitted in the course of judging ‘p.’. (shrink)

Every domain-specific ontology must use as a framework some upper-level ontology which describes the most general, domain-independent categories of reality. In the present paper we sketch a new type of upper-level ontology, which is intended to be the basis of a knowledge modelling language GOL (for: 'General Ontological Language'). It turns out that the upper- level ontology underlying standard modelling languages such as KIF, F-Logic and CycL is restricted to the ontology of sets. Set theory has considerable mathematical power and (...) great flexibility as a framework for modelling different sorts of structures. At the same time it has the disadvantage that sets are abstract entities (entities existing outside the realm of time, space and causality), and thus a set-theoretical framework should be supplemented by some other machinery if it is to support applications in the ripe, messy world of concrete objects. In the present paper we partition the entities of the real world into sets and urelements, and then we introduce several new ontological relations between these urelements. In contrast to standard modelling and representation formalisms, the concepts of GOL provide a machinery for representing and analysing such ontologically basic relations. (shrink)

Many philosophical theories of self-knowledge can be understood as attempts to explain why self-ascriptions enjoy a certain kind of authority that other-ascriptions lack (the Authority Thesis). The aim of this paper is not to expand the stock of existing explanations but to ask whether the Authority Thesis can be adequately specified. To this end, I identify three requirements that must be met by any satisfactory specification. I conclude that the search for an adequate specification of the Authority Thesis leads to (...) a dilemma: it either yields an interpretation under which the thesis is philosophically interesting but false, or it produces an interpretation under which the thesis is actually true but of minor philosophical interest. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

Our senses provide us with information about the world, but what exactly do they tell us? I argue that in order to optimally respond to sensory stimulations, an agent’s doxastic space may have an extra, “imaginary” dimension of possibility; perceptual experiences confer certainty on propositions in this dimension. To some extent, the resulting picture vindicates the old-fashioned empiricist idea that all empirical knowledge is based on a solid foundation of sense-datum propositions, but it avoids most of the problems traditionally associated (...) with that idea. The proposal might also explain why experiences appear to have a non-physical phenomenal character, even if the world is entirely physical. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

All statements describing physical reality are derived through interpretation of measurement results that requires a theory of the measuring instruments used to make the measurements. The ultimate measuring instrument is our body which displays its measurement results in our mind. Since a physical theory of our mind-body is unknown, the correct interpretation of its measurement results is unknown. The success of the physical sciences has led to a tendency to treat assumption in physics as indisputable facts. This tendency hampers the (...) development of new theories capable of addressing the foundations of mind. To show the possibility that false interpretations of experimental results have lead to equally false projections onto physical reality may have happened, the double slit experiment and special relativity experiments are examined in detail. I will show that strongly held a-priory beliefs characterizing measurement instruments have lead to unjustified but widely held concepts in physical theories. For example the assumption that material bodies have minds can change the interpretation of experiments to produce alternative physical theories. Since some material bodies have minds this paper calls for a review of the conscious observer’s role in the execution and interpretation of fundamental physics experiments in order to verify or challenge the basic beliefs adopted in standard physical theories. (shrink)

This article aims to show that Williamson's anti-luminosity argument does not succeed if we presuppose a constitutive connection between the phenomenal and the doxastic. In contrast to other luminists, however, my strategy is not to critically focus on the refined safety condition in terms of degrees of confidence that anti-luminists typically use in this context. Instead, I will argue that, given a certain conception of what Chalmers calls ‘direct phenomenal concepts,’ luminosity is guaranteed even if the refined safety condition in (...) terms of degrees of confidence is taken for granted. (shrink)

First, I will discuss several reasons as to why there is still almost a reluctance to reading Kant’s philosophy in the context of the scholastic tradition. The focus will be on (i) the label “revolutionary” often attached to Kant’s thought thereby suggesting a radical break with the past, especially with regard to philosophers often perceived as conservative, and (ii) the issue of confessional ramifications (not unrelated to the first point) will also be touched upon, albeit briefly. Then, two examples will (...) be investigated with regard to which a recourse to this context provides important clues to the philosophical points at issue. These are Kant’s claims that on the one hand, existence is not a real predicate, and on the other, that appearances are nothing but representations. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

Primitive awareness leading to consciousness can be explained as a manifestation of internal forces between charge and mass. These internal forces, related to the weak and strong forces, balance the external forces of gravity-inertia and electricity-magnetism and thereby accommodate outside influences by adjusting the internal structure of material from which we are composed. Such accommodation is the physical implementation of a model of the external physical world and qualifies as Vitiello's double held inside ourselves. We experience this accommodation as the (...) conscious experience in front of our noses. Neural pulse traffic is interpreted as unconscious signal processing activity happening between this internal accommodation and our external interface of sensors and actuators. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

This paper aims to support my (2018) skeptical position on the possibility of a correct and philosophically significant specification of first-person authority. For this purpose, I critically examine the proposals presented by Doyle (2021) and Winokur (2022) in response to my position and argue that while these proposals contain some ingenious ideas, they ultimately fall short of providing correct and philosophically significant specifications. Ultimately, the search for an adequate specification of first-person authority remains unresolved.

On the consequences of the interplay between the diversity of ethnic, national, cultural and linguistic groupings in the Austro-Hungarian Empire.

Evolutionary theory usually neglects two variables: the changes induced in the environment by the evolving organism, and individual uniqueness in sexually reproducing species. In order to fuel its maintenance and reproduction, an organism must average a positive net energy balance vis-a-v}s its environment. It achieves this via aptations, which consist of information (i.e., the internalization of all that is predictable about the environment, including the machinery to take advantage of this information) and stored energy (to operate the machinery, including a (...) safety margin to deal with events that are unpredictable in principle). Taking advantage of a prediction, however, interferes with what has been predicted; each adaptation by the organism therefore changes its environmental target. Today's organism is adapted to yesterday's environment, and today's predator inherits yesterday's prey image. This paper attempts to show that, over evolutionary time, the persistence of this asymmetric, time-lagged relationship is owed increasingly to genetically unique individuals. Individual uniqueness as resulting from sexual reproduction is janusfaced. It endows an evolving population with both a forward-looking (promethean) and backward-looking (protean) feature. A population made up of genetically unique individuals is promethean (creative) in its ability to exploit non-homogeneous resources and respond serendipitously to environmental change via new genotypes; it is protean (elusive) in presenting a pursuer (predator or parasite) with a scattered target. Furthermore, because of the asymmetry between the winnowing of the target gene pool by the pursuer, and the genetic fixation in the pursuer of an outdated target image, the target keeps evolving away from the pursuer at a speed and in a direction that are a function of the pursuer's success. This mechanism ensures an evolutionary time lag be102 W. Sterrer tween pursuer and target, which explains escalation, the stability of asymmetric coevolutionary systems such as the life/dinner principle, and the pervasiveness of the Red Queen effect. Individuality thus both promotes and retards the speed of evolution. Having probably originated simultaneously with predation, sex-generated individuality is a self-accelerating evolutionary process that may account for much of today's organismic and environmental complexity. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

The present essay seeks, by way of the Austrian example, to make a contribution to what might be called the philosophy of the supranational state. More specifically, we shall attempt to use certain ideas on the philosophy of Gestalten as a basis for understanding some aspects of that political and cultural phenomenon which was variously called the Austrian Empire, the Habsburg Empire, the Danube Monarchy or Kakanien.

Der vorliegende "philologische" Kommentar beansprucht Kants Critik der reinen Vernunft aus ihren historischen Voraussetzungen zu erklären. Zu diesen gehört an erster Stelle Kants Sprache; sie ist nicht mehr die unsere, was den unvorbereiteten Leser von heute schon an der Semantik und Syntax vieler Sätze scheitern lässt. Neben einer Fülle von sprachlichen Erläuterungen und textkritischen Untersuchungen bringt der Kommentar reichliche Zitate aus den von Kant benutzten Logik- und Metaphysik-Lehrbüchern, die seine Rezeption der "dogmatischen" Philosophie Christian Wolffs und seiner Nachfolger belegen; lateinische (...) Texte werden dabei sowohl im Original als auch in deutscher Übersetzung geboten. Einzelne Motive werden ideengeschichtlich bis in die Antike zurückverfolgt; hieraus eröffnen sich Perspektiven für eine "Metakritik" von einem "vorkritischen" Standpunkt aus, die im Rahmen eines philologischen Kommentars nur angedeutet werden können. (shrink)

The present "philological commentary" is directed at those who have decided to take time for reading the original text, at least in an English translation. The first volume "Textual Criticism" is intended to meet the difficulties caused by the fact that our text editions are based on manuscripts separated from the original by more than a millennium.

With the third volume, it is invited to enter the intellectual environment of Aristotle. The most relevant sources are given in full (with English translation), so that the commentary is also a reader documenting the disputationes metaphysicae of the 4th century BC. For the undeniable contradictions in the Metaphysics, a new genetic explanation is offered.

Though since Werner Jaeger's famous Studien zur Entstehungsgeschichte der Metaphysik des Aristoteles of 1912 remarkable observations were made, the topic "Composition of the Metaphysics" almost disappeared from the agenda. As, however, neglect of this philological task results in either selective reading or anachronistic systematization, the author has resumed it, extending it to the internal structure of the singular books.

The question of the relationship between ontology and theology, the main problem of the interpretation in volume 3, is also the guiding question of our last volume. The history of metaphysics is a history of the efforts towards an outlook on the world and life, which are about the meaning and connection of fundamental concepts: being, life, intellect, unity, truth, goodness. From these, the concept of divinity is derived. As in the previous volumes, a rich material of original texts and (...) interpretations is spread out. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

We argue that Wittgenstein’s philosophical perspective on Gödel’s most famous theorem is even more radical than has commonly been assumed. Wittgenstein shows in detail that there is no way that the Gödelian construct of a string of signs could be assigned a useful function within (ordinary) mathematics. — The focus is on Appendix III to Part I of Remarks on the Foundations of Mathematics. The present reading highlights the exceptional importance of this particular set of remarks and, more specifically, emphasises (...) its refined composition and rigorous internal structure. (shrink)

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

In accordance with the contemporary state of the natural sciences, Wolfgang Sohst here presents an extended ontological model where the process is the first cosmological category, not objects. Her starts with very few primordial categories of becoming that even precede the fundamental concepts of physics and mathematics. Since Democritus, ie. for about 2,400 years, all cultures of European descent rest mainly on the presupposition that substances and their properties provide the inventory of our world. This, however, contradicts the formerly (...) and still today lively intuition (intellectually up to Heraclitus, again in Aristotle and only then resurgent with Hegel) that objects are not the dominating aspect of what we are living in. Rather, the basis of our cosmos is a world process as the result of the complementary relationship of particular objects and their mutual efficiencies. (shrink)

Brentano’s position in the history of philosophy is often illustrated by the long list of important philosophers who have studied with him. Yet, the relations between Brentano and his students were not always without friction. In the present article I argue that Brentano’s students were most attracted by his conception of a scientific philosophy, which promised to leave the received tradition (German Idealism) behind and to mark the beginning of a new period in the history of philosophy – a project (...) they were happy to be part of. Brentano’s work remained in an important sense fragmentary, however, and could, thus, not provide the inner unity that would have been essential for forming a compact school or a unified philosophical movement. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

The existence of a Catholic Intellectual Tradition (CIT) is not a given, as arguments contra are in balance with arguments pro. An intellectual tradition consists of a style of thought and of a worldview, as its formal and material modes. The former defines the way knowledge is appropriated, processed, and passed on whereas the latter amounts to its applications to various regions of reality – God, man, morality, society, the Church, etc. A model of the CIT is proposed that consists (...) of principles differentiated by the degree of centrality they have in a topological structure. The paper asserts the existence of a CIT because a non-stipulative, non-trivial, and non-circular case can be made for it. (shrink)

The distinction of things in themselves and appearances is an integral part of Kant’s transcendental idealism, yet it has often been met with rather significant hostility. Moreover, what surely has not contributed to the popularity of this Kantian doctrine is that there are, or at least there appear to be, two distinct models, detectable in Kant’s texts, to account for this distinction. Most commonly, these two models are called the “two aspect view” on the one hand and the “two world (...) view” on the other, but it is possible that these labels themselves invite misunderstandings and obscure rather than clarify what Kant had in mind with his distinction. In this paper, I shall first briefly discuss how these two models could be described and labelled in a more suitable manner, namely as the “one composite entity view” and the “two separate objects view”. Subsequently, I will enquire which of the models is pertinent for Kant’s solution to the 3rd antinomy. I will try to show that although the two models appear to be incompatible, it is at least plausible to read Kant as using both of them in this crucial text of his oeuvre. Moreover, Kant’s strategy in solving the freedom problem on the basis of an indirectly realist account of the divine intellect provides the clue to understanding how these seemingly incompatible models can co-exist without forcing Kant into maintaining contradictory claims. (shrink)

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.