In her ‘Spracherwerb’(2012) Ruth Millikan gives a compelling account of language acquisition based on our ability to track objects. I argue that, and how, it is undermined by her insistence on equating understanding language utterances and sense perception, point to idealist hazards, and plead against propositionality and for imagism in order to safeguard the account’s important potential for giving a comprehensive explication of meaning.

I argue first that attention is a (maybe the) paradigmatic case of an object-directed, non-propositional intentional mental episode. In addition attention cannot be reduced to any other (propositional or non-propositional) mental episodes. Yet, second, attention is not a non-propositional mental attitude. It might appear puzzling how one could hold both of these claims. I show how to combine them, and how that combination shows how propositionality and non-propositionality can co-exist in a mental life. The crucial move is one (...) away from an atomistic, building block picture to a more holistic, structural picture. (shrink)

This paper offers a detailed reconstruction of Frege’s theory of side-thoughts and its relation to other parts of his pragmatics, most notably to the notion of colouring, to the notion of presupposition, and to his implicit notion of multi-propositionality. I also highlight some important differences between the subsemantic categories employed by Frege and those used in contemporary pragmatics.

Abstract The Greek composer and architect Iannis Xenakis has shown in Formalized Music (1963) how it is possible to compose or describe music and sound by means of probabilistic laws from mathematics, information theory and statistical mechanics. In his theory, scientific concepts and properties such as entropy take on a musical meaning in that they become also properties structurally instantiable by music. Philosophically speaking, this raises many important questions about the relation between science and the arts. One of these questions (...) concerns in particular the possibility for aesthetic symbols (like musical compositions) to convey scientific understanding, and understanding in general. In the present work, I claim that this question can be answered positively. In general, understanding does not necessarily depend on truth, explanation and propositionality (non-factualism, non-reductivism). Understanding can be conveyed also in non-propositional domains, in particular by means of exemplification. Since aesthetic and musical symbols are non-propositional, they can advance understanding possibly by exemplification, and in particular scientific understanding as long as they exemplify scientific concepts and properties. I moreover substantiate my claim by taking a case study: the concept of entropy in music. On the basis of Xenakis’ stochastic theory of music, I show how by exemplifying this concept, music can advance understanding of it. (shrink)