Let a smooth experience be an experience with perfectly gradual changes in phenomenal character. Consider, as examples, your visual experience of a blue sky or your auditory experience of a rising pitch. Do the phenomenal characters of smooth experiences have continuous or discrete structures? If we appeal merely to introspection, then it may seem that we should think that smooth experiences are continuous. This paper (1) uses formal tools to clarify what it means to say that an experience is continuous (...) or discrete, and (2) develops a discrete model of the phenomenal characters of smooth experiences. As a result, I'll argue that introspection leaves open whether smooth experiences are continuous or discrete. Yet I’ll also argue—perhaps surprisingly—that the discrete theory may better fit our introspective evidence. (shrink)

A cognitive ethnography of how bioengineering scientists create innovative modeling methods. In this first full-scale, long-term cognitive ethnography by a philosopher of science, Nancy J. Nersessian offers an account of how scientists at the interdisciplinary frontiers of bioengineering create novel problem-solving methods. Bioengineering scientists model complex dynamical biological systems using concepts, methods, materials, and other resources drawn primarily from engineering. They aim to understand these systems sufficiently to control or intervene in them. What Nersessian examines here is how cutting-edge bioengineering (...) scientists integrate the cognitive, social, material, and cultural dimensions of practice. Her findings and conclusions have broad implications for researchers in philosophy, science studies, cognitive science, and interdisciplinary studies, as well as scientists, educators, policy makers, and funding agencies. In studying the epistemic practices of scientists, Nersessian pushes the boundaries of the philosophy of science and cognitive science into areas not ventured before. She recounts a decades-long, wide-ranging, and richly detailed investigation of the innovative interdisciplinary modeling practices of bioengineering researchers in four university laboratories. She argues and demonstrates that the methods of cognitive ethnography and qualitative data analysis, placed in the framework of distributed cognition, provide the tools for a philosophical analysis of how scientific discoveries arise from complex systems in which the cognitive, social, material, and cultural dimensions of problem-solving are integrated into the epistemic practices of scientists. Specifically, she looks at how interdisciplinary environments shape problem-solving. Although Nersessian’s case material is drawn from the bioengineering sciences, her analytic framework and methodological approach are directly applicable to scientific research in a broader, more general sense, as well. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

Cognitive representations are typically analysed in terms of content, vehicle and format. While current work on formats appeals to intuitions about external representations, such as words and maps, in this paper we develop a computational view of formats that does not rely on intuitions. In our view, formats are individuated by the computational profiles of vehicles, i.e., the set of constraints that fix the computational transformations vehicles can undergo. The resulting picture is strongly pluralistic, it makes space for a variety (...) of different formats, and is intimately tied to the computational approach to cognition in cognitive science and artificial intelligence. (shrink)

I argue that analogue mental representations possess a canonical decomposition into privileged constituents from which they compose. I motivate this suggestion, and rebut arguments to the contrary, through reflection on the approximate number system, whose representations are widely expected to have an analogue format. I then argue that arguments for the compositionality and constituent structure of these analogue representations generalize to other analogue mental representations posited in the human mind, such as those in early vision and visual imagery.

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by (...) which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention (...) to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

The aim of this paper is to show that a corollary of resolute readings of Wittgenstein’s conception of nonsense cannot be sustained. First, I describe the corollary. Next, I point out the relevance to it of Wittgenstein’s discussion of family resemblance concepts. Then, I survey some typical uses of nonsense to see what they bring to an ordinary language treatment of the word “nonsense” and its relatives. I will subsequently consider the objection, on behalf of a resolute reading, that “nonsense” (...) is a term of philosophical criticism. Finally, I conclude that resolute readings have not sufficiently accounted for how nonsense behaves in our language; they have failed to heed Wittgenstein’s warning: “don’t think, but look!”. (shrink)

This paper proposes a diagrammatic reconstruction of Carnap's formal method of quasianalysis in the Aufbau and then explains on that basis why Quine's criticism of Carnap's constitution of physical space fails.

The publication of The Aesthetics of Science invites us to reflect, beyond the range of individual arguments advanced in it, on the general aims that motivate t.

This paper argues that the semantic facts about ‘because’ are best explained via a metaphorical treatment of metaphysical explanation that treats causal explanation as explanation par excellence. Along the way, it defends a commitment to a unified causal sense of ‘because’ and offers a proprietary explanation of grounding skepticism. With the causal metaphor account of metaphysical explanation on the table, an extended discussion of the relationship between conceptual structure and metaphysics ends with a suggestion that the semantic facts about ‘because’ (...) tell against grounding-causation unity. (shrink)

In this philosophical memoir I trace out the part that Roy Bhaskar's philosophy of science played in the development of a non-reductive account of realism in art and cultural theory in the 1970s and 1980s in the UK, and the part his Dialectic played in the theorization of the concept of the philistine developed by myself and Dave Beech between 1996 and 1998. Our de-positivization of the concept as a symptomatic negation of the bourgeois ‘aesthete’ drew extensively on Bhaskar's notion (...) of absence as a real absence. This in turn, allowed us to bring Bhaskar's realism and Theodor Adorno's Aesthetic Theory into alignment, where the philistine plays a similar, if undeveloped and untheorized role. Overall, the article marks a recognition of the continuing possibilities of Dialectic for a theory of negation in contemporary art and cultural theory. (shrink)

The theoretical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been somewhat neglected. In this paper, however, I shall discuss narrativity specifically with regard to pictorial objects in order to clarify how pictorial storytelling may be based on the activation of mentally stored action and scene schemas. Approaches from cognitive psychology, such as the work of Schank, Roger C. & Robert P. Abelson. 1977. Scripts, plans, goals (...) and understanding. Hillsdale, NJ: Lawrence Erlbaum; Mandler, Jean Matter. 1984. Stories, scripts, and scenes: Aspects of schema theory. London/hillsdale, NJ: Lawrence Erlbaum; Schank, Roger C. 1995. Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press, suggest that cognition crucially depends on the storage and retrieval of action scripts or schemata, that is, narrative structures, which may occur at various levels of abstraction. These schemas incorporate generalized knowledge about event sequences, such as the order in which specific events will take place; causal, enabling, or conventionalized relations between these events, and what kind of events occur in certain action sequences. There also are scene schemas that are characterized by spatial rather than temporal relations. Further kinds of schemas seem also to play a decisive role. Drawing upon considerations from schema and script theory, I will focus on some concrete examples of pictorial narration, more specifically depictions of the Annunciation of the Virgin Mary, where narrative schema structures become involved and, indeed, the comprehensibility of the pictures as such presuppose mental script representations. (shrink)

There is currently a gap in our understanding of how figures produced by mechanical imaging techniques play evidential roles: several studies based on close examination of scientific practice show that imaging techniques do not yield data whose significance can simply be read off the image. If image-making technology is not a simple matter of nature re-presenting itself to us in a legible way, just how do the images produced provide support for scientific claims? In this article I will first show (...) that there is a distinct question about the semiotics of mechanically produced images that has not yet been answered. I show that my account of visual representations can do so, and I argue that the role of convention involved in my account is compatible with the view that visual representations produced through mechanized imaging techniques can play genuine evidential roles in scientific reasoning. (shrink)

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas about music, (...) which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)

Elgin offers an influential and far-reaching challenge to veritism. She takes scientific understanding to be non-factive and maintains that there are epistemically useful falsehoods that figure ineliminably in scientific understanding and whose falsehood is no epistemic defect. Veritism, she argues, cannot account for these facts. This paper argues that while Elgin rightly draws attention to several features of epistemic practices frequently neglected by veritists, veritists have numerous plausible ways of responding to her arguments. In particular, it is not clear that (...) false propositional commitments figure ineliminably in understanding in the manner supposed by Elgin. Moreover, even if scientific understanding were non-factive and false propositional commitments did figure ineliminably in understanding, the veritist can account for this in several ways without thereby abandoning veritism. (shrink)

An influential objection to the epistemic power of the imagination holds that it is uninformative. You cannot get more out of the imagination than you put into it, and therefore learning from the imagination is impossible. This paper argues, against this view, that the imagination is robustly informative. Moreover, it defends a novel account of how the imagination informs, according to which the imagination is informative in virtue of its analog representational format. The core idea is that analog representations represent (...) relations ‘for free,’ and this explains how the imagination can contain more information than is put into it. This account makes important contributions to both philosophy of mind, by showing how the imagination can generate new content that is not represented by a subject’s antecedent mental states, and epistemology, by showing how the imagination can generate new justification that is not conferred by a subject’s antecedent evidence. (shrink)

A shorthand symbolism for the relational mapping of categories is introduced and developed on the basis of Nelson Goodman's structural methodology. Through a reconstruction of extensional isomorphism that Goodman introduces as a criterion for definitional accuracy, and a brief reminder of the argument structure behind his ‘new riddle of induction’, Goodman's radical ontological relativism is turned into a protological principle of what I call ‘domain constituting philosophy’. MSS is demonstrated with reference to Goodman's symbol theory, particularly his notion of exemplification, (...) as well as in a final structured comparison of Frege's ‘sense’ with Goodman's straightforward construction of ‘secondary extension’. (shrink)

Many philosophers and psychologists have attempted to elucidate the nature of mental representation by appealing to notions like isomorphism or abstract structural resemblance. The ‘structural representations’ that these theorists champion are said to count as representations by virtue of functioning as internal models of distal systems. In his 2007 book, Representation Reconsidered, William Ramsey endorses the structural conception of mental representation, but uses it to develop a novel argument against representationalism, the widespread view that cognition essentially involves the manipulation of (...) mental representations. Ramsey argues that although theories within the ‘classical’ tradition of cognitive science once posited structural representations, these theories are being superseded by newer theories, within the tradition of connectionism and cognitive neuroscience, which rarely if ever appeal to structural representations. Instead, these theories seem to be explaining cognition by invoking so-called ‘receptor representations’, which, Ramsey claims, aren’t genuine representations at all—despite being called representations, these mechanisms function more as triggers or causal relays than as genuine stand-ins for distal systems. I argue that when the notions of structural and receptor representation are properly explicated, there turns out to be no distinction between them. There only appears to be a distinction between receptor and structural representations because the latter are tacitly conflated with the ‘mental models’ ostensibly involved in offline cognitive processes such as episodic memory and mental imagery. While structural representations might count as genuine representations, they aren’t distinctively mental representations, for they can be found in all sorts of non-intentional systems such as plants. Thus to explain the kinds of offline cognitive capacities that have motivated talk of mental models, we must develop richer conceptions of mental representation than those provided by the notions of structural and receptor representation. (shrink)

Metaphor is an issue for the philosophy of language not only for its own sake, as a linguistic phenomenon deserving of analysis and interpretation, but also for the light it sheds on non‐figurative language, the domain of the literal which is the normal preoccupation of the philosopher of language. If all we mean by paraphrase is the ability to say what one means in other words, then it does seem true that there is a difference between idiom and metaphor here. (...) In a paper that has attracted a great deal of commentary, Donald Davidson has argued that we should indeed cease talking about figurative meaning in connection with metaphor altogether; and he seems prepared to accept the consequences that follow from this rejection. The theory of figurative language prompting the rethinking of some of the basic concepts in the philosophy of language generally. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...) they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents. (shrink)

This article develops an approach to modelling and models in science—the hybrid view—that is against model fictionalism of a recent stripe. It further argues that there is a version of fictionalism about models to which my approach is neutral and which makes sense only if one adopts a special sort of antirealism. Otherwise, my approach strongly suggests that one stay away from fictionalism and embrace realism directly.

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

This paper reflects on the problems of cross-cultural interpretations and translations analysing how these are rooted in theories and philosophical assumptions. Inquiring the concept of philosophy per se, the paper discusses key passages of Heidegger and the related problem of 有 and 無. The conclusion is that to translate such terms, it is necessary to revise the coercive onto-theological assumptions of metaphysics. This can trigger a process of re-grounding grounds with the consequent possibility of language transformation, which, in turn, activates (...) new relations between cultural diversities. Thus, philosophy itself becomes an eminently comparative dialogue between cultures. Without setting a single method for all these problems, the paper argues that comparisons themselves call for necessarily different methodological approaches. Hence, whilst Daoism helps to illuminate these issues defining one of the possibilities that a philosophy of comparisons entails, this same reasoning opens a way for another reading of the Daodejing. (shrink)

In this paper, I present a philosophical analysis of interdisciplinary scientific activities. I suggest that it is a fruitful approach to view interdisciplinarity in light of the recent literature on scientific representations. For this purpose I develop a meta-representational model in which interdisciplinarity is viewed in part as a process of integrating distinct scientific representational approaches. The analysis suggests that present methods for the evaluation of interdisciplinary projects places too much emphasis non-epistemic aspects of disciplinary integrations while more or less (...) ignoring whether specific interdisciplinary collaborations puts us in a better, or worse, epistemic position. This leads to the conclusion that there are very good reasons for recommending a more cautious, systematic, and stringent approach to the development, evaluation, and execution of interdisciplinary science. (shrink)

Aesthetic beautification is a familiar artistic phenomenon. Even as they face death, heroes and heroines in operas still sing glorious music. Characters in Shakespearean tragedies still deliver beautifully eloquent speeches in the throes of despair. Even when depicting suffering and horror, paintings can still remain a transfixing delight for the eyes. In such cases, the work of art represents or expresses something to which we would, in ordinary life, attribute a negative valence, but it does so beautifully. Doubtless there is (...) not a single explanation for what transpires in art of this sort or in our experience of it. With some aesthetically beautified art, its foremost goal might be giving aesthetic pleasure, and the beauty of the aesthetic form, even when depicting horrors, is in the service of this primary aim. In other art, the beautification might seek to be jarring and thought-provoking, highlighting a disconnect between the aesthetic frame and what is portrayed. These routes explain much of aesthetic beautification. But I am particularly interested in considering another, still more specific, response: finding ourselves somehow consoled by the beautification. I begin with some reflections on aesthetic beautification in general, and then turn to consider how beautification and consolation might be connected, and what to make of this. (shrink)

This paper discusses a novel kind of argument for assessing the moral significance of acts of lying and misleading. It is based on considerations about valuable social norms that might be eroded by these actions, because these actions function as signals. Given that social norms can play an important role in supporting morality, individuals have a responsibility to preserve such norms and to prevent ‘cultural slopes’ that erode them. Depending on whether there are norms against lying, misleading, or both, and (...) how likely it is that they might be eroded, these actions can thus have different moral significance. In cases in which the rule ‘do not lie’, as a relatively simple rule, functions as a ‘focal point’, acts of misleading are often morally preferable. In other words, in such cases the possibility of ‘cultural slopes’ can ground a context-dependent slippery slope argument for a moral difference between lying and misleading. (shrink)

Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts. Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject.While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral tools. One such technical notion is that of the density of symbol systems. This serves to distinguish linguistic symbols from pictorial (...) representations and is a crucial part of Goodman’s explanation of what constitutes aesthetic experience. Thus its significance for Goodman’s theory is fundamental.The aim of this paper is a detailed, logical analysis of this notion. It turns out that Goodman’s definition is highly problematic and cannot be applied to symbol systems in the way Goodman envisaged. To conclude, Goodman’s theory is problematic not just because of its controversial theses but also because of logical problems with the technical notions used at its very core. Hence the controversial claims are not simply contestable, but inaccurately expressed. (shrink)

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 focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, (...) we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. (shrink)

This paper examines the points of disagreement between Petrus Camper and J. W. von Goethe regarding the existence of the inter-maxillary bone in humans as the link between man and the rest of nature. This historical case illustrates the fundamental role of aesthetic judgements in scientific discovery. Thus, I shall show how the eighteenth century discovery of the inter-maxillary bone in humans was largely determined by aesthetic factors—specifically, those sets of assumptions and criteria implied in the aesthetic schemata of Camper (...) and Goethe. I argue that the relevance of scientifically ascertainable morphological properties that count as evidence for the existence of bona fide anatomical structures depend on the aesthetic schema adopted by the communities assessing the classification. At the same time, I propose and explain mechanisms by which aesthetic considerations might determine the acceptability of empirical claims about the world. Based on the reconstruction of the arguments of Camper and Goethe, I conclude that aesthetic considerations play a substantive role in both the generation and preliminary evaluation of scientific hypotheses. This paper suggests a complementary relation between the mediation of aesthetic criteria in theory choice and in scientific discovery in that while aesthetic considerations in theory choice lead to conservatism; in the context of discovery they often lead to innovation. (shrink)

The aim of this paper is to engage with the interplay between representational content and design in chemistry and to explore some of its epistemological consequences. Constraints on representational content arising from the aspectual structure of representation can be manipulated by design. Designs are epistemologically important because representational content, hence our knowledge of target systems in chemistry, can change with design. The significance of this claim is that while it has been recognised that the way one conveys information makes a (...) difference to the inferences one can draw from representations in spite of the invariance of informational content, the present paper argues that in chemistry and biochemistry it is often the case that designs have cognitive priority relative to informational content. (shrink)

The concept of representation has been a key element in the scientific study of mental processes, ever since such studies commenced. However, usage of the term has been all but too liberal—if one were to adhere to common use it remains unclear if there are examples of physical systems which cannot be construed in terms of representation. The problem is considered afresh, taking as the starting point the notion of activity spaces—spaces of spatiotemporal events produced by dynamical systems. It is (...) argued that representation can be analyzed in terms of the geometrical and topological properties of such spaces. Several attributes and processes associated with conceptual domains, such as logical structure, generalization and learning are considered, and given analogues in structural facets of activity spaces, as are misrepresentation and states of arousal. Based on this analysis, representational systems are defined, as is a key concept associated with such systems, the notion of representational capacity. According to the proposed theory, rather than being an all or none phenomenon, representation is in fact a matter of degree—that is can be associated with measurable quantities, as is behooving of a putative naturalistic construct. (shrink)

In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) is both ‘in’ and ‘beyond’ the image: the depicted subject haunts the image. Borrowing Richard Wollheim’s language, the aim of this study is to determine what it means for a consciousness to see a depicted-subject in an image-depiction, which happens on the basis of seeing an image-object in a material image-thing, like paint, canvas, ink, paper etc. Restricting myself to figurative images, I will argue against the view that the relation to the depicted subject is symbolic or signitive. I argue that the consciousness of the Sujet is quasi-perceptual, which allows for a better account of the depicted subject’s sense of absence. I develop this view on the basis of Husserl’s claims that the depicted subject is the bearer of norms inherent to intuitive appearances, which concern how the profiles and movements of an object ought to unfold, though they fail to do so for image-consciousness. This failure is not a mere privation for the image as a perceptual appearance but is inherent to its status as a mediated and artificial presence. (shrink)

In this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François (...) Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images. (shrink)

Mathematical diagrams are frequently used in contemporary mathematics. They are, however, widely seen as not contributing to the justificatory force of proofs: they are considered to be either mere illustrations or shorthand for non-diagrammatic expressions. Moreover, when they are used inferentially, they are seen as threatening the reliability of proofs. In this paper, I examine certain examples of diagrams that resist this type of dismissive characterization. By presenting two diagrammatic proofs, one from topology and one from algebra, I show that (...) diagrams form genuine notational systems, and I argue that this explains why they can play a role in the inferential structure of proofs without undermining their reliability. I then consider whether diagrams can be essential to the proofs in which they appear. (shrink)

Perhaps the most significant contemporary theory of lawhood is the Best System (/MRL) view on which laws are true generalizations that best systematize knowledge. Our question in this paper will be how best to formulate a theory of this kind. We’ll argue that an acceptable MRL should (i) avoid inter-system comparisons of simplicity, strength, and balance, (ii) make lawhood epistemically accessible, and (iii) allow for laws in the special sciences. Attention to these problems will bring into focus a useful menu (...) of novel MRL theories, some of which solve problems the original MRL theory could not. Hence we conceive of the paper as moving toward a better Best System theory of laws. (shrink)

This essay reviews Theatre, Communication, Critical Realism (2010) by Tobin Nellhaus. It begins by outlining the objective of the book and proceeds to evaluate its central argument. The objective is to develop a theory of theatre founded on the premises of critical realism and thereby theoretically situate theatrical performance in its socio-cultural matrix. The argument is that critical realism is effective for developing a comprehensive account of theatrical performance because it has the capacity to reveal truths about the structure of (...) social reality (that correspond to those articulated by critical realism). In the second part of the review, employing the methods of conceptual analysis, I propose that Nellhaus’s thesis of ‘ontological doubling’ (which claims that performance doubles human agency) is undermined by certain epistemological presuppositions regarding the ontology of fictional characters. (shrink)

This article examines the philosophical issues that arise when preserving urban geological sites or urban geosites. These are preserved not only because of their geological value but also because of aesthetic, cultural, and economic reasons. To do so, it examines the geosite constituted by Olot and its surroundings, a city in Spain that extends amid four dormant volcanoes. It explores the metaphysical paradox that these geosites have become what they are due to the preservation of destruction: human-caused interventions, mostly extraction (...) of materials and exploitation of the land, are precisely what made these geosites visible as sites worth preserving and determining their metaphysical status. It further explores the preservation criteria and shows how they have determined the status of the geosite. Second, it shows how in such urban geosites the collapse of two diametrically opposed conceptions of time – the geological eon and the lived human time – occurs. Lastly, it discusses aesthetic aspects of such geosites by considering aesthetic experience as a primarily cognitive endeavor and shows how metaphysical, epistemological, and aesthetic issues of preservation of geosites are inextricably linked. (shrink)

Philosophers have traditionally inclined toward one of two opposite extremes when it comes to metaphor. On the one hand, partisans of metaphor have tended to believe that metaphors do something different in kind from literal utterances; it is a ‘heresy’, they think, either to deny that what metaphors do is genuinely cognitive, or to assume that it can be translated into literal terms. On the other hand, analytic philosophers have typically denied just this: they tend to assume that if metaphors (...) express any genuine content at all, then that content can in principle be paraphrased into literal terms. They often conclude on this basis that metaphor is theoretically dispensable, and so that it poses no special challenges and affords no distinctive insights for the philosophy of language and mind. (shrink)

There is a long-standing debate whether propositions, sentences, statements or utterances provide an answer to the question of what objects logical formulas stand for. Based on the traditional understanding of logic as a science of valid arguments, this question is firstly framed more exactly, making explicit that it calls not only for identifying some class of objects, but also for explaining their relationship to ordinary language utterances. It is then argued that there are strong arguments against the proposals commonly put (...) forward in the debate. The core of the problem is that an informative account of the objects formulas stand for presupposes a theory of formalization; that is, a theory that explains what formulas may adequately substitute for an inference in proofs of validity. Although such theories are still subject to research, some consequences can be drawn from an analysis of the reasons why the common accounts featuring sentences, propositions or utterances fail. Theories of formalization cannot refer to utterances qua expressions of propositions; instead they may refer to sentences and rely on additional information about linguistic structure and pragmatic context. (shrink)

In this essay, I examine the role of dissimilarity in scientific representation. After briefly reviewing some of the philosophical literature which places a strong emphasis on the role of similarity, I turn to examine some work from Carroll and Borges which demonstrates that perfect similarity is not valuable in the representational use of maps. Expanding on this insight, I go on to argue that this shows that dissimilarity is an important part of the representational use of maps—a point I then (...) extend to the case of scientific representation. Relying on some work from Latour, I argue that dissimilarity plays an essential role in representational practice, by providing novel forms of manipulation and use which affords the achievement of various epistemic and nonepistemic aims. After showing how this point connects to some other literature on scientific representation, I discuss some examples of the value of dissimilarity in the use of representational vehicles. Overall, I argue that to understand scientific representation, we will need to consider more than just similarity. We will need to explore dissimilarities as well. (shrink)

Focused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the “opening” occurs, (...) striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

Computer simulations and experiments share many important features. One way of explaining the similarities is to say that computer simulations just are experiments. This claim is quite popular in the literature. The aim of this paper is to argue against the claim and to develop an alternative explanation of why computer simulations resemble experiments. To this purpose, experiment is characterized in terms of an intervention on a system and of the observation of the reaction. Thus, if computer simulations are experiments, (...) either the computer hardware or the target system must be intervened on and observed. I argue against the first option using the non-observation argument, among others. The second option is excluded by e.g. the over-control argument, which stresses epistemological differences between experiments and simulations. To account for the similarities between experiments and computer simulations, I propose to say that computer simulations can model possible experiments and do in fact often do so. (shrink)