A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they (...) express. Inspiration here comes from recent proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.

It is commonly assumed that images, whether in the world or in the head, do not have a privileged analysis into constituent parts. They are thought to lack the sort of syntactic structure necessary for representing complex contents and entering into sophisticated patterns of inference. I reject this assumption. “Image grammars” are models in computer vision that articulate systematic principles governing the form and content of images. These models are empirically credible and can be construed as literal grammars for images. (...) Images can have rich syntactic structure, though of a markedly different form than sentences in language. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs (...) pictorial discourses, and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

Tagging is the phenomenon in which regions of a picture, map, or diagram are annotated with words or other symbols, to provide descriptive information about a depicted object. The interpretive principles that govern tagged images are not well understood, due in part to the difficulty of integrating pictorial and linguistic semantic rules. Rather than directly combining these rules, I propose to use the framework of perspectival feature maps as an intermediary representation of content, in which the outputs of (...) class='Hi'>pictorial and linguistic interpretation may be assimilated. The result is a simple and compositional semantics for tagged images. (shrink)

It has often been said that the Chinese script is pictorial or ideographic, and that this is one of the reasons why Chinese tend to think more analogically than logically, and why in the past the natural sciences developed to a lesser degree in China than in the West. These are strong claims. They have often been oversimplified and exaggerated, but I think there is something to be said for them. Here I will focus on the first question. I (...) will argue that Chinese characters still have semantic features that create image-like qualities in a wider sense: not mere resemblances between sign and object, but family resemblances in semantic fields. The fact that Chinese is an isolating and monosyllabic language is essential in this. (shrink)

As formal theoretical linguistic methodology has matured, recent years have seen the advent of applying it to objects of study that transcend language, e.g., to the syntax and semantics of music (Lerdahl & Jackendoff 1983, Schlenker 2017a; see also Rebuschat et al. 2011). One of the aims of such extensions is to shed new light on how meaning is construed in a range of communicative systems. In this paper, we approach this goal by looking at narrative dance in the (...) form of Bharatanatyam. We argue that a semantic approach to dance can be modeled closely after the formal semantics of visual narrative proposed by Abusch (2013, 2014, 2021). A central conclusion is that dance not only shares properties of other fundamentally human means of expression, such as visual narrative and music, but that it also exhibits similarities to sign languages and the gestures of non-signers (see, e.g., Schlenker 2020) in that it uses space to track individuals in a narrative and performatively portray the actions of those individuals. From the perspective of general human cognition, these conclusions corroborate the idea that linguistic investigations beyond language (see Patel-Grosz et al. forthcoming) can yield insights into the very nature of the human mind and of the communicative devices that it avails. (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)

I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (...) (like ????) I analyze as a difference between truth-conditional and use-conditional pictorial content: ???? depicts what the world of evaluation looks like, while ???? depicts what the utterance context looks like. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of (...) logical variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

Trademarks are not just property; they are aesthetic creations that pervade everyday experience. As pervasive aesthetic creations having literary, pictorial, graphic, sculptural, and musical content, trademarks deserve aesthetic analysis. So this paper discusses the origins, strength, appeal, and effectiveness of trademarks within the context of aesthetic considerations such as meaning, intention, authorship, and mode of creation. Also reviewed are morphemic and phonemic analysis of trademarks, semantic positioning, the dichotomy between creation and discovery of trademarks, and the differences between trademarks (...) and titles. The discussion is confined to "word marks" consisting of alphanumeric characters because discussing other kinds of marks (such as designs, configurations, sounds, colors, and scents) would raise issues well beyond the scope of a single article. (shrink)

The analysis of multimodal argumentation in advertising is a crucial and problematic area of research. While its importance is growing in a time characterized by images and pictorial messages, the methods used for interpreting and reconstructing the structure of arguments expressed through verbal and visual means capture only isolated dimensions of this complex phenomenon. This paper intends to propose and illustrate a methodology for the reconstruction and analysis of “double-mode” arguments in advertisements, combining the instruments developed in social semiotics, (...) pragmatics, and argumentation theory. An advertisement is processed through a five-step path. The analysis of its context, text genre, and images leads to a first representation of the messages that it encodes both pictorially and verbally (step 1). These first semantic representations are further enriched by including their polyphonic articulations and presuppositions (step 2), their explicatures (step 3), and their dialogical functions and illocutionary forces (step 4). These pragmatic steps retrieve the commitment structure of the ad, which allows a further argument analysis conducted through argumentation schemes (step 5). (shrink)

Propositionalism is the view that all intensional constructions (including nominal and clausal attitude reports) can be interpreted as relations to truth-evaluable propositional content. While propositionalism has long been silently assumed in semantics and the philosophy of language, it has only recently entered center stage in linguistic research. This article surveys the properties of intensional constructions, which require the introduction of fine-grained semantic values (intensions). It contrasts two ways of obtaining such values: through the introduction of either Russellian propositions or (...) Frege-Church-style senses. The article identifies propositionalism with a specific variant of the Russellian strategy, reviews key arguments for propositionalism, and compares familiar varieties of propositionalism on the basis of instructive examples. It closes by discussing various challenges for propositionalism and suggesting a generalization of propositionalism that meets some of these challenges. Because of the association of propositions with semantic information, the article also addresses the more general question of whether all information content (including mental and pictorial content) is propositional. (shrink)

In this article, I show the semantic connection between one pictorial detail of the traditional Annunciation iconography in Christianity and an apocryphal detail of the Virgin Mary biography, dating back to the antique metaphor of the body as clothing or cloth. In the Annunciation scene, the archangel Gabriel and the Mother of God are present, while the Virgin is often depicted with a spindle and a purple yarn in her hands. This detail sends the viewer to the metaphor of (...) birth as the creation of flesh and blood, as the spinning of the body in the womb of the mother, and also symbolically means the entry of God into the corporeal world through the Virgin and the blood sacrifice offered for the salvation of the world. The described “apocryphal” detail of the Annunciation scene can be understood as a visualization of the metaphor, known in antiquity, of the body creation as spinning or weaving. (shrink)

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the (...) paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that (...) an empirically informed account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

Semantic information is usually supposed to satisfy the veridicality thesis: p qualifies as semantic information only if p is true. However, what it means for semantic information to be true is often left implicit, with correspondentist interpretations representing the most popular, default option. The article develops an alternative approach, namely a correctness theory of truth (CTT) for semantic information. This is meant as a contribution not only to the philosophy of information but also to the philosophical debate on the nature (...) of truth. After the introduction, in Sect. 2, semantic information is shown to be translatable into propositional semantic information (i). In Sect. 3, i is polarised into a query (Q) and a result (R), qualified by a specific context, a level of abstraction and a purpose. This polarization is normalised in Sect. 4, where [Q + R] is transformed into a Boolean question and its relative yes/no answer [Q + A]. This completes the reduction of the truth of i to the correctness of A. In Sects. 5 and 6, it is argued that (1) A is the correct answer to Q if and only if (2) A correctly saturates Q by verifying and validating it (in the computer science’s sense of “verification” and “validation”); that (2) is the case if and only if (3) [Q + A] generates an adequate model (m) of the relevant system (s) identified by Q; that (3) is the case if and only if (4) m is a proxy of s (in the computer science’s sense of “proxy”) and (5) proximal access to m commutes with the distal access to s (in the category theory’s sense of “commutation”); and that (5) is the case if and only if (6) reading/writing (accessing, in the computer science’s technical sense of the term) m enables one to read/write (access) s. Sect. 7 provides some further clarifications about CTT, in the light of semantic paradoxes. Section 8 draws a general conclusion about the nature of CTT as a theory for systems designers not just systems users. In the course of the article all technical expressions from computer science are explained. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

The philosophical problem of pictorial conversational implicatures can be summarized as follows: We have three propositions that are independently plausible and jointly inconsistent. -/- (Non-P) Anti-propositionalism: pictures do not have context-independent, conventionally encoded propositional content (propositional function). -/- (C) Only those representations can be used to convey conversational implicatures which have associated with them a context-independent, conventionally encoded propositional content (function). -/- (I) Pictures can be used to convey conversational implicatures. -/- There are three ways of responding to the (...) problem: affirm (Non-P) and (C) while denying (I); affirm (C) and (I) while denying (Non-P); or affirm (Non-P) and (I) while denying (C). (shrink)

My paper examines the popular idea, defended by Kripke, that meaning is an essentially normative notion. I consider four common versions of this idea and suggest that none of them can be supported, either because the alleged normativity has nothing to do with normativity or because it cannot plausibly be said that meaning is normative in the sense suggested. I argue that contrary to received opinion, we don’t need normativity to secure the possibility of meaning. I conclude by considering the (...) repercussions of rejecting semantic normativity on three central issues: justification, communication, and naturalism. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book (...) on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.

When I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are the links between me and particular worldly trees when I see them in photographs, or in paintings? Are they, in some important sense, links of the same kind? Or are they links of importantly different kinds? Or, as a third possibility, are they at once (...) links of the same important kind and also links of importantly different sub-kinds within that kind? This paper takes up these taxonomical questions. After fleshing out (a bit) the characterisation of these different subject-object links, I explain and expand upon an approach to answering the taxonomical questions originally set out by Kendall Walton. I then follow this approach a certain distance, connecting it with the question of how to mark the boundary between perception and cognition. My investigations support the conclusion that the three types of links just described are not importantly different in kind. (shrink)

The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...) achieving this aim. Hence, by the lights of recent epistemology, it is questionable whether art is of any epistemic value. In order to hold on to the epistemic value of art, one has three options: (a) reject the recent analyses of knowledge that make the epistemic value of art questionable, (b) accept the recent analyses of knowledge but argue that they are compatible with the epistemic value of art, or (c) find another epistemic aim (besides knowledge) and show that art is of significant help in achieving this aim. In this paper I will argue that, at least with respect to pictorial art, option (c) seems promising. By reconsidering some basic insights and ideas from Nelson Goodman we can identify (objective) understanding as an epistemic aim to which pictorial art makes a significant contribution. (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)

Boethius identifies God both with esse ipsum and esse suum. This paper explains Boethius's general semantic use of "esse" and the application of this use to God. It questions the helpfulness of attributing to Boethius "existence" words and argues for a more robust role in Boethius’s thought for Hilary of Poitiers’s and Augustine’s exegeses of Exodus 3:14-15 than has been acknowledged in recent scholarship.

This paper takes a stand on Hamblin semantics and its relation to the semantics-to-pragmatics interface. Biased questions, where the speaker finds one of the options more likely and expects the confirmation that p is true, raise a concern about the limits of Hamblin semantics. I argue that biased questions have modified Hamblin semantics, while unbiased questions have unconstrained Hamblin semantics. The optional bias feature explains compositionally. It is triggered by likelihood presuppositions ranging Hamblin sets and (...) highlighting the preferred alternative(s). Biased effects are exceptionally possible in alternative and wh-questions, but only in polar questions, they can be encoded lexically and grammatically. I argue that Hamblin semantics covers all core types of questions, while some of its applications for non-questions are problematic. (shrink)

I motivate and characterize an intensional semantics for ‘ought’ on which it does not behave as a universal quantifier over possibilities. My motivational argument centers on taking at face value some standard challenges to the quantificational semantics, especially to the idea that ‘ought’-sentences satisfy the principle of Inheritance. I argue that standard pragmatic approaches to these puzzles are either not sufficiently detailed or unconvincing.

Longstanding philosophical debate over the semantics of proper names has yet to examine the distinctive behavior of deadnames, names that have been rejected by their former bearers. The use of these names to deadname individuals is derogatory, but deadnaming derogates differently than other kinds of derogatory speech. This paper examines different accounts of this behavior, illustrates what going views of names will have to say to account for it, and articulates a novel version of predicativism that can give a (...) semantic explanation for this derogation. (shrink)

nated discussion of the semantics of such verbs. I will call this view.

This paper argues for contrastivism about the deontic modals, 'ought', 'must', and 'may'. A simple contrastivist semantics that predicts the desired entailment relations among these modals is offered.

There is a curious bifurcation in the literature on ground and its logic. On the one hand, there has been a great deal of work that presumes that logical complexity invariably yields grounding. So, for instance, it is widely presumed that any fact stated by a true conjunction is grounded in those stated by its conjuncts, that any fact stated by a true disjunction is grounded in that stated by any of its true disjuncts, and that any fact stated by (...) a true double negation is grounded in that stated by the doubly-negated formula. This commitment is encapsulated in the system GG axiomatized and semantically characterized by [deRosset and Fine, 2023] (following [Fine, 2012]). On the other hand, there has been a great deal of important formal work on “flatter” theories of ground, yielding logics very different from GG [Correia, 2010] [Fine, 2016, 2017b]. For instance, these theories identify the fact stated by a self-conjunction $$(\phi \wedge \phi )$$ with that stated by its conjunct $$\phi $$. Since, in these systems, no fact grounds itself, the “flatter” theories are inconsistent with the principles of GG. This bifurcation raises the question of whether there is a single notion of ground suited to fulfill the philosophical ambitions of grounding enthusiasts. There is, at present, no unified semantic framework employing a single conception of ground for simultaneously characterizing both GG and the “flatter” approaches. This paper fills this gap by specifying such a framework and demonstrating its adequacy. (shrink)

I argue that semantics is the study of the proprietary database of a centrally inaccessible and informationally encapsulated input–output system. This system’s role is to encode and decode partial and defeasible evidence of what speakers are saying. Since information about nonlinguistic context is therefore outside the purview of semantic processing, a sentence’s semantic value is not its content but a partial and defeasible constraint on what it can be used to say. I show how to translate this thesis into (...) a detailed compositional-semantic theory based on the influential framework of Heim and Kratzer. This approach situates semantics within an independently motivated account of human cognitive architecture and reveals the semantics–pragmatics interface to be grounded in the underlying interface between modular and central systems. (shrink)

Quine's views on semantic holism and observation statements appear to be incompatible. My paper is an attempt to alleviate this tension.

This book pursues the question of how and whether natural language allows for reference to abstract objects in a fully systematic way. By making full use of contemporary linguistic semantics, it presents a much greater range of linguistic generalizations than has previously been taken into consideration in philosophical discussions, and it argues for an ontological picture is very different from that generally taken for granted by philosophers and semanticists alike. Reference to abstract objects such as properties, numbers, propositions, and (...) degrees is considerably more marginal than generally held. (shrink)

Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...) token. The investigation also raises some significant issues concerning artistic printmaking, and strongly suggests in addition that two new concepts of interpretation--of identifying and constitutive interpretation--are required to adequately explain the artistic phenomena that are uncovered. (shrink)

This chapter provides a general overview of the issues surrounding so-called semantic monsters. In section 1, I outline the basics of Kaplan’s framework and spell out how and why the topic of “monsters” arises within that framework. In Section 2, I distinguish four notions of a monster that are discussed in the literature, and show why, although they can pull apart in different frameworks or with different assumptions, they all coincide within Kaplan’s framework. In Section 3, I discuss one notion (...) that has spun off into the linguistics literature, namely “indexical shift”. In Section 4, I emphasize the connection between monsters and the compositionality of asserted content in Kaplan’s original discussion. Section 5 discusses monsters and the more general idea of re-interpretation or meaning-shift. Section 6 closes with a brief survey of where monsters may dwell, and pointers to avenues for future research. (shrink)

I develop and defend a truthmaker semantics for the relevant logic R. The approach begins with a simple philosophical idea and develops it in various directions, so as to build a technically adequate relevant semantics. The central philosophical idea is that truths are true in virtue of specific states. Developing the idea formally results in a semantics on which truthmakers are relevant to what they make true. A very natural notion of conditionality is added, giving us relevant (...) implication. I then investigate ways to add conjunction, disjunction, and negation; and I discuss how to justify contraposition and excluded middle within a truthmaker semantics. (shrink)

Our aim here is to lay the groundwork for formal tree-ring analysis combining data from dendrochronology with formal techniques from semantics. We will present the basic syntax of, and basic compositional semantics of tree-ring structures.

In this paper, I discuss the analysis of logic in the pragmatic approach recently proposed by Brandom. I consider different consequence relations, formalized by classical, intuitionistic and linear logic, and I will argue that the formal theory developed by Brandom, even if provides powerful foundational insights on the relationship between logic and discursive practices, cannot account for important reasoning patterns represented by non-monotonic or resource-sensitive inferences. Then, I will present an incompatibility semantics in the framework of linear logic which (...) allow to refine Brandom’s concept of defeasible inference and to account for those non-monotonic and relevant inferences that are expressible in linear logic. Moreover, I will suggest an interpretation of discursive practices based on an abstract notion of agreement on what counts as a reason which is deeply connected with linear logic semantics. (shrink)

In this paper, we present a new semantic framework designed to capture a distinctly cognitive or epistemic notion of meaning akin to Fregean senses. Traditional Carnapian intensions are too coarse-grained for this purpose: they fail to draw semantic distinctions between sentences that, from a Fregean perspective, differ in meaning. This has led some philosophers to introduce more fine-grained hyperintensions that allow us to draw semantic distinctions among co-intensional sentences. But the hyperintensional strategy has a flip-side: it risks drawing semantic distinctions (...) between sentences that, from a Fregean perspective, do not differ in meaning. This is what we call the ‘new problem’ of hyperintensionality to distinguish it from the ‘old problem’ that faced the intensional theory. We show that our semantic framework offers a joint solution to both these problems by virtue of satisfying a version of Frege’s so-called ‘equipollence principle’ for sense individuation. Frege’s principle, we argue, not only captures the semantic intuitions that give rise to the old and the new problem of hyperintensionality, but also points the way to an independently motivated solution to both problems. (shrink)

The article investigates the significance of the so-called phenomenon of apparent faultless disagreement for debates about the semantics of taste discourse. Two kinds of description of the phenomenon are proposed. The first ensures that faultless disagreement raises a distinctive philosophical challenge; yet, it is argued that Contextualist, Realist and Relativist semantic theories do not account for this description. The second, by contrast, makes the phenomenon irrelevant for the problem of what the right semantics of taste discourse should be. (...) Lastly, the following dilemma is assessed: either faultless disagreement provides strong evidence against semantic theories; or its significance should be considerably downplayed. (shrink)

Expressivists about epistemic modals deny that ‘Jane might be late’ canonically serves to express the speaker’s acceptance of a certain propositional content. Instead, they hold that it expresses a lack of acceptance. Prominent expressivists embrace pragmatic expressivism: the doxastic property expressed by a declarative is not helpfully identified with that sentence’s compositional semantic value. Against this, we defend semantic expressivism about epistemic modals: the semantic value of a declarative from this domain is the property of doxastic attitudes it canonically serves (...) to express. In support, we synthesize data from the critical literature on expressivism—largely reflecting interactions between modals and disjunctions—and present a semantic expressivism that readily predicts the data. This contrasts with salient competitors, including: pragmatic expressivism based on domain semantics or dynamic semantics; semantic expressivism à la Moss [2015]; and the bounded relational semantics of Mandelkern [2019]. (shrink)

I provide an analysis of sentences of the form ‘To be F is to be G’ in terms of exact truth-maker semantics—an approach that identifies the meanings of sentences with the states of the world directly responsible for their truth-values. Roughly, I argue that these sentences hold just in case that which makes something F is that which makes it G. This approach is hyperintensional, and possesses desirable logical and modal features. These sentences are reflexive, transitive and symmetric, and, (...) if they are true, then they are necessarily true, and it is necessary that all and only Fs are Gs. I close by defining an asymmetric and irreflexive notion of analysis in terms of the reflexive and symmetric one. (shrink)

The aim of this paper is to reinterpret success semantics, a theory of mental content, according to which the content of a belief is fixed by the success conditions of some actions based on this belief. After arguing that in its present form, success semantics is vulnerable to decisive objections, I examine the possibilities of salvaging the core of this proposal. More specifically, I propose that the content of some very simple, but very important, mental states, the immediate (...) mental antecedents of action, can be explained in this manner. (shrink)

This paper considers a now familiar argument that the ubiquity of context -dependence threatens the project of natural language semantics, at least as that project has usually been conceived: as concerning itself with `what is said' by an utterance of a given sentence. I argue in response that the `anti-semantic' argument equivocates at a crucial point and, therefore, that we need not choose between semantic minimalism, truth-conditional pragmatism, and the like. Rather, we must abandon the idea, familiar from Kaplan (...) and others, that utterances express propositions `relative to contexts' and replace it with the Strawonian idea that speakers express propositions by making utterances in contexts. The argument for this claim consists in a detailed investigation of the particular case of demonstratives, which I argue demand such a Strawsonian treatment. I then respond to several objections, the most important of which allege that the Strawsonian account somehow undermines the project of natural language semantics, or threatens the semantics -pragmatics distinction. Please note that the paper posted here is an extended version of what was published. (shrink)

1. The primary evidence and motivation for externalism in the philosophy of mind is provided by the semantic facts that support direct reference theories of names, indexi- cal pronouns, and natural kind terms. But many externalists have forgotten their sem- antic roots, or so I shall contend here. I have become convinced of this by a common reaction among externalists to the main argument of my 1991 paper AAnti-Individual- ism and Privileged Access.@ In that argument, I concluded that externalism is (...) incompat- ible with the principle that we can have privileged, non-empirical knowledge of the contents of our own thoughts. The reaction in question amounts to a dismissive denial of one of my argument=s main premises. This premise, which I defended at length in the paper, is that an externalist thesis regarding a cognitive property should hold that possession of the property by a person _logically_, or _conceptually_, implies the existence of objects external to that person. (shrink)

Philosophers have spilled a lot of ink over the past few years exploring the nature and significance of grounding. Kit Fine has made several seminal contributions to this discussion, including an exact treatment of the formal features of grounding [Fine, 2012a]. He has specified a language in which grounding claims may be expressed, proposed a system of axioms which capture the relevant formal features, and offered a semantics which interprets the language. Unfortunately, the semantics Fine offers faces a (...) number of problems. In this paper, I review the problems and offer an alternative that avoids them. I offer a semantics for the pure logic of ground that is motivated by ideas already present in the grounding literature, and for which a natural axiomatization capturing central formal features of grounding is sound and complete. I also show how the semantics I offer avoids the problems faced by Fine’s semantics. (shrink)