The profile and possibilities of in vitro meat are rapidly expanding, creating new ethical conundrums about how to approach this nascent biotechnology. The outcomes of these ethical debates will shape the future viability of this technology and its acceptability for potential consumers. In this paper we focus on how in vitro meat is being ethically constructed in academic literatures and contrast this with discourses evident in the mainstream print media. The academic literature is analysed to identify a typology of ethical (...) discourses, ordered from the most common to least expressed. We then apply this typology to investigate the frames present in Australian print media reportage on the topic. In the academic literature, discourses relating to in vitro meat’s promised environmental, animal welfare and food security benefits are most prominent. In contrast, ontological struggles over its ‘nature’ have emerged as the dominant feature in the Australian print media. Although these spaces of engagement evidence decidedly different discursive trends, ethical discourses critical of in vitro meat’s wider socio-cultural ramifications are currently under-represented in both. This paper therefore calls for critical scholars to move beyond the narrow, presumptive framings of in vitro meat as a technological remedy for our consumptive ills, to more seriously engage with the ethical consequences of this new form of food. (shrink)

Featuring the Gestalt Model and the Perspectivist conception of science, this book is unusual in its non-relativistic development of the idea that successive scientific theories are logically incommensurable. This edition includes four new appendices in which the central ideas of the book are applied to subatomic physics, the distinction between laws and theories, the relation between absolute and relative conceptions of space, and the environmental issue of sustainable development.

Purpose: The purpose of this paper is to analyze the theology of suffering from a biblical perspective by using literature review as methodology. Methodology: One of the foundational evangelical presuppositions for theological research is that Scripture is divinely authored and is therefore without error, and authoritative for our faith and practice. Findings: The study found that suffering is biblical and should be expected by all Christians as they are not exempted from it, unlike prosperity teaching. Suffering has the purpose of (...) refining and maturing our faith. Further, it is to display the greatness of the glory of the grace of God. Unique Contribution to theory and practice: Therefore, it is recommended for Christians to depend on God at all seasons by asking for wisdom and grace from him. So in this paper, the relationship between suffering and the sovereignty of God and its implication to the church will be discussed with a particular focus on John Piper's work. (shrink)

Causal theories of perception typically have problems in explaining deviant causal chains. They also have difficulty with other unusual putative cases of perception involving prosthetic aids, defective perception, scientifically extended cases of perception, and so on. But I show how a more adequate reflexive causal theory, in which objects or properties X cause a perceiver to acquire X-related dispositions toward that very same item X, can provide a plausible and principled perceptual explanation of all of these kinds of cases. A (...) critical discussion of David Lewis's perceptual descriptivist views is also provided, including a defense of the logical possibility of systematic misperception or perceptual error for a perceiver, in spite of its empirical improbability. (shrink)

In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

This paper will investigate the basic question of the nature of perception, as theoretically approached from a purely naturalistic standpoint. An adequate theory must not only have clear application to a world full of pre-existing biological examples of perception of all kinds, from unicellular perception to conscious human perception, but it must also satisfy a series of theoretical or philosophical constraints, as enumerated and discussed in Section 1 below. A perceptual theory invoking _reflexive dispositions_--that is, dispositions directed toward the very (...) same worldly perceived objects or properties that caused them--will be defended as one legitimate such naturalistic theory. (shrink)

The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...) the same work of art. My view will be that an artwork (such as a painting) and its associated artefact are not identical, and nor is the artefact in any sense part of the painting in question,2 but that nevertheless it is still possible to maintain the view that paintings are autographic (which view I shall call l the autographic thesis). I shall proceed initially through presentation of some counter-examples to common assumptions as to the relations of artefacts and artworks, and then present an alternative 'representational' theory of their relations. (shrink)

I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, (...) for which reason I call this kind of content medium content (or medium-related content). (shrink)

The field of machine perception is based on standard informational and computational approaches to perception. But naturalistic informational theories are widely regarded as being inadequate, while purely syntactic computational approaches give no account of perceptual content. Thus there is a significant need for a novel, purely naturalistic perceptual theory not based on informational or computational concepts, which could provide a new paradigm for mechanistic perception. Now specifically evolutionary naturalistic approaches to perception have been—perhaps surprisingly—almost completely neglected for this purpose. Arguably (...) perceptual mechanisms enhance evolutionary fitness by facilitating sensorily mediated causal interactions between an organism Z and items X in its environment. A ‘reflexive’ theory of perception of this kind is outlined, according to which an organism Z perceives an item X just in case X causes a sensory organ zi of Z to cause Z to acquire a disposition toward the very same item X that caused the perception. The rest of the paper shows how an intuitively plausible account of mechanistic perception can be developed and defended in terms of the reflexive theory. Also, a compatibilist option is provided for those who wish to preserve a distinct informational concept of perception. (shrink)

In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman's own theory, but any broadly type versus token based account of notational structure.Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other notational (...) item. Such a view is strongly supported by the completely conventional relation between inscriptions and notation, as shown by encryption techniques etc. (shrink)

Realistic uses of Virtual Reality technology closely integrate user training on virtual objects with VR-assisted user interactions with real objects. This paper shows how the Interactive Theory of Perception may be extended to cover such cases. Virtual objects are explained as concrete models that have an inner generation mechanism, and the ITP is used to explain how VR users can both perceive such local CMs, and perceptually represent remote real objects. Also, concepts of modeling and representation are distinguished. The paper (...) concludes with suggestions as to how the ITP methodology developed here could be extended to iconic external representations and models generally. (shrink)

A semiótica ontológica de Peirce retomou o sentido de práxis racional de Aristóteles em seu sentido compartilhado da função de mediação do Interpretante lógico. O artigo está dividido em três partes. A primeira delineia a conceitualização de Ivo Assad Ibri da semiose de Peirce com relação à diferença entre o Interpretante emocional e o lógico, em especial com relação ao primeiro nos modos “degenerados” de fixação de crença e conduta; a segunda parte explica a conceitualização inicial de Peirce daquela doutrina (...) em seu tratamento do “Homem-signo” em “Some Consequences of Four Incapacities” ; a terceira parte apresenta a Ética a Nicômaco de Aristóteles como a origem clássica da trajetória principal da semiose de Peirce, ao correlacionar o conceito de teleologia de desenvolvimento de Peirce com o conceito paralelo de caráter disposicional ativo de Aristóteles energizado pela média ética como o interpretante pragmatista da conduta. (shrink)

What is the relation between a perceptual experience of an object X as being red, and one's belief, if any, as to the nature of that experience? A traditional Cartesian view would be that, if indeed object X does seem to be red to oneself, then one's resulting introspective belief about it could only be a _conforming _belief, i.e., a belief that X perceptually seems to be _red _to oneself--rather than, for instance, a belief that X perceptually seems to be (...) green to oneself instead. On such a Cartesian view, our introspective certainly about our own thoughts extends also to our perceptual experiences as to how things seem to be to us, so that our resulting introspective beliefs about our phenomenal states also count as knowledge of them. (shrink)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...) aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

In this way Dilworth succeeds in providing a conception of science in which scientific progress is based on both rational and empirical considerations.

In this paper an outline of a metaphysical conception of modern science is presented in which a fundamental distinction is drawn between scientific principles, laws and theories. On this view, ontologicalprinciples, rather than e.g. empirical data, constitute the core of science. The most fundamental of these principles are three in number, being, more particularly (A) the principle of the uniformity of nature, (B) the principle of the perpetuity of substance, and (C) the principle of causality.These three principles set basic constraints (...) on the methodology of both empirical and theoretical science. The uniformity principle is central to the empirical aspect of science, suggesting a methodology consisting in the attempt to discover empiricallaws, while the causality principle is central to the theoretical aspect of science, suggesting the postulation of scientifictheories capable of indicating the causal basis of the laws. And the perpetuity principle functions so as to form a bridge between the theories and the laws. (shrink)

Representationalists who hold that phenomenal character can be explained in terms of representational content currently cannot explain counter-examples that involve indeterminate perceptual content, such as in the case of objects seen blurrily by someone with poor eyesight, or objects seen vaguely in misty conditions. But this problem can be resolved via provision of a more sophisticated double content (DC) view, according to which the representational content of perception is structured in two nested levels. I start by outlining the DC view (...) via consideration of four closely related cases of perceptual imprecision. Then, after a demonstration that the DC view can also explain imprecise photographic content, inadequacies in the more standard single content (SC) view are demonstrated. The results are then generalized so as to apply to the content of any kinds of non-conventional representation. The paper continues with evidence that a DC account provides a moderate rather than extreme realist account of perception, and it concludes with an initial analysis of the failure of nomic covariance accounts of information in indeterminacy cases. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...) the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies (...) his theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (shrink)

I argue that the concept of representation is ambiguous: a picture of 'a man', when there is no actual man that it depicts, both does, in one sense, and does not, in another sense, represent 'a man'--hence the need for a distinction of internal from external representation. Internal representation is also defended from reductive, non-referential alternative views, and from 'prosthesis' views of picturing, according to which seeing a picture of an actual man just is seeing through the picture to that (...) actual man himself. The view also provides a strong foundation for a theory of reference to fictional entities. (shrink)

In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...) problems with his approach, so that overall it is no more successful than more standard resemblance views of depiction. (shrink)

I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...) of the sculptors are distinct. This case is then contrasted with an attempted parallel example for design intentions, which fails to produce two correspondingly distinct design products in spite of the different design intentions of its designers. I argue that this failure occurs because designs are types, for which any single token of a given type could not simultaneously be a token of some other type of the same general kind; whereas the possibility of my sculptural 'double artwork' example shows that such artworks cannot be types. I then further investigate the concept of a design, and conclude by arguing that an extension of my sculptural example shows that literary artworks also cannot be types. (shrink)

There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also bypasses (...) contentious issues regarding the status of both indicated and 'initiated' types, as extensively discussed in the BJA. (shrink)

Philosophers and theologians from around the world and throughout history have grappled with such fundamental issues as the nature of the world and man's relation to it, as well as the optimal forms of human perception, language and behaviour. Yet it has always been difficult to compare the works of thinkers from different eras and cultures. In this work of systematic philosophy, David Dilworth places the major texts of ancient and modern, and Western and Oriental philosphy and religion into (...) one comparative framework. His study reveals affinities between thinkers who lived centuries and continents apart and produces numerous insights by bringing together the greatest philosophical texts into a single scheme. (shrink)

On a traditional or default view of the grasping or understanding of a singular proposition by an individual, it is assumed to be a unitary or holistic activity. However, naturalistic views of cognition plausibly could analyze propositional thinking in terms of more than one distinctive functional stage of cognitive processing, suggesting at least the potential legitimacy of a non-unitary analysis of propositional grasping. We outline a novel dual-component view of this kind, and show that it is well supported by current (...) cognitive science research. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

This article further explains and develops a recent, comprehensive semantic naturalization theory, namely the interactive indexing (II) theory as described in my 2008 Minds and Machines article Semantic Naturalization via Interactive Perceptual Causality (Vol. 18, pp. 527–546). Folk views postulate a concrete intentional relation between cognitive states and the worldly states they are about. The II theory eliminates any such concrete intentionality, replacing it with purely causal relations based on the interactive theory of perception. But intentionality is preserved via purely (...) abstract propositions about the world that index, or correlate with, appropriate cognitive states. Further reasons as to why intentionality must be abstract are provided, along with more details of an II-style account of representation, language use and propositional attitudes. All cognitive representation is explained in terms of classification or sorting dispositions indexed by appropriate propositions. The theory is also related to Fodor’s representational theory of mind, with some surprisingly close parallels being found in spite of the purely dispositional basis of the II theory. In particular, Fodor’s insistence that thinking about an item cannot be reduced to sorting dispositions is supported via a novel two-level account of cognition—upper level propositional attitudes involve significant intermediate processing of a broadly normative epistemic kind prior to the formation of sorting dispositions. To conclude, the weak intentional realism of the II theory—which makes intentional descriptions of the world dispensable—is related to Dennett’s ‘intentional stance’ view, and distinguished from strong (indispensable) intentional realist views. II-style dispositions are also defended. (shrink)

In a previous Philo article, it was shown how properties could be ontologically dispensed with via a representational analysis: to be an X is to comprehensively represent all the properties of an X. The current paper extends that representationalist (RT) theory by explaining representation itself in parallel epistemic rather than ontological terms. On this extended RT (ERT) theory, representations of X, as well as the real X, both may be identified as providing information about X, whether partial or comprehensive. But (...) that information does not match ontological, property-based analyses of X, so it is epistemically fundamental–hence supporting a broadly conceptualist rather than nominalist metaphysics. (shrink)

There are no unicorns, but there are representations of them, hence motivating an explanation of discourse about the property 'unicorn' in terms of discourse about representations of unicorns. I show how to extend this strategy to apply to any kind or property terms. References to property instances may be explained as references to comprehensive representations of them, which represent all of the (supposed) properties of such an instance--unlike 'ordinary' representations, which are distinctive in that they represent only some limited subset (...) of such properties, through use only of some proper subset of their own (supposed) properties. This representationalist approach results in a very economical naturalist ontology, which has no need for properties. (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)

In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting (...) that which the words ordinarily refer to or describe when being used literally. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of (...) expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

The assembly of nucleosomes and higher‐order chromatin structures has been extensively studied in vitro. Provided that non‐specific charge interactions are controlled, all the information for correct assembly is found to be inherent in the macromolecular components. Cellular extracts which can assemble chromatin in vitro with nucleosomes correctly spaced on the DNA have been studied in detail and also used to investigate the role of chromatin structure in transcription. However, the mechanisms of chromatin assembly in vivo are still controversial.

The outlines of a novel, fully naturalistic theory of perception are provided, that can explain perception of an object X by organism Z in terms of reflexive causality. On the reflexive view proposed, organism Z perceives object or property X just in case X causes Z to acquire causal dispositions reflexively directed back upon X itself. This broadly functionalist theory is potentially capable of explaining both perceptual representation and perceptual content in purely causal terms, making no use of informational concepts. (...) However, such a reflexive, naturalistic causal theory must compete with well entrenched, supposedly equally naturalistic theories of perception that are based on some concept of information, so the paper also includes some basic logical, naturalistic and explanatory criticisms of such informational views. (shrink)

ABSTRACT: The Reflexive Theory of Perception (RTP) claims that perception of an object or property X by an organism Z consists in Z being caused by X to acquire some disposition D toward X itself. This broadly behavioral perceptual theory explains perceptual intentionality and correct versus incorrect, plus successful versus unsuccessful, perception in a plausible evolutionary framework. The theory also undermines cognitive and perceptual modularity assumptions, including informational or purely epistemic views of perception in that, according to the RTP, any (...) X-caused and X-directed dispositions are genuinely perceptual—including affective, attitudinal, and immediately activated purely action-directed behavioral dispositions. Thus the RTP has the potential to provide the foundations for a broadly behavioral counter-revolution in cognitive science. (shrink)

The career-texts of Kant, Schelling, and Peirce unfolded in historical sequence to form a paradigm progression in philosophical modernity. To wit, Kant’s third Critique’s reflective synthesis of foundational concepts of nature and freedom opened a speculative path for a landmark line of development in Schelling’s later-phase metaphysical empiricism which, in turn, conveyed a decisive provenance for Peirce’s articulation of indecomposable categories of epistemology, cosmology, and ontological semeiosis. Peirce’s categoriology reconfigured certain theoretical implications of Schelling’s Investigation into the Essence of Human (...) Freedom and The Grounding of the Positive Philosophy in his later-phase trajectory of postulating an energetic reasonableness in the nature of things. (shrink)