Gareth Evans, one of the most brilliant philosophers of his generation, died in 1980 at the age of thirty-four. He had been working for many years on a book about reference, but did not complete it before his death. The work was edited for publication by John McDowell, who contributes a Preface.

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

By introducing a name ‘one meter’ and stipulating that it refers to the length of stick S, the stipulator appears to be in a position to gain immediate knowledge of a mind- and language-independent fact-the fact that the length of stick S is one meter. It appears that other users of the name can gain this knowledge only through empirical enquiry. I argue that this presents a paradox. After clarifying the nature of the paradox, I offer a solution by arguing (...) that, contrary to appearances, other users of ‘one meter’ implicitly knew that the length of stick S is one meter before learning the name, as did the stipulator prior to introducing the name. There is some distinct knowledge that other users of the name can only gain empirically, but the stipulator cannot gain this knowledge without empirical enquiry either. (shrink)

John Searle's Speech Acts and Expression and Meaning developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, though third (...) in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

By a `denoting phrase' I mean a phrase such as any one of the following: a man, some man, any man, every man, all men, the present King of England, the present King of France, the center of mass of the solar system at the first instant of the twentieth century, the revolution of the earth round the sun, the revolution of the sun round the earth. Thus a phrase is denoting solely in virtue of its form. We may distinguish (...) three cases: (1) A phrase may be denoting, and yet not denote anything; e.g., `the present King of France'. (2) A phrase may denote one definite object; e.g., `the present King of England' denotes a certain man. (3) A phrase may denote ambiguously; e.g. `a man' denotes not many men, but an ambiguous man. The interpretation of such phrases is a matter of considerably difficulty; indeed, it is very hard to frame any theory not susceptible of formal refutation. All the difficulties with which I am acquainted are met, so far as I can discover, by the theory which I am about to explain. (shrink)

Charles Parsons; X*—Mathematical Intuition, Proceedings of the Aristotelian Society, Volume 80, Issue 1, 1 June 1980, Pages 145–168, https://doi.org/10.1093/ari.

Can there be rules of language which serve both to determine meaning and to guide speakers in ordinary linguistic usage, i.e., in the production of speech acts? We argue that the answer is no. We take the guiding function of rules to be the function of serving as reasons for actions, and the question of guidance is then considered within the framework of practical reasoning. It turns out that those rules that can serve as reasons for linguistic utterances cannot be (...) considered as normative or meaning determining. Acceptance of such a rule is simply equivalent to a belief about meaning, and does not even presuppose that meaning is determined by rules. Rules that can determine meaning, on the other hand, i.e., rules that can be regarded as constitutive of meaning, are not capable of guiding speakers in the ordinary performance of speech acts. (shrink)

How is it that we think and refer in the first-person way? For most philosophers in the analytic tradition, the problem is essentially this: how two apparently conflicting kinds of properties can be reconciled and united as properties of the same entity. What is special about the first person has to be reconciled with what is ordinary about it. The range of responses reduces to four basic options. The orthodox view is optimistic: there really is a way of reconciling these (...) apparently contradictory properties as contained within the same thing. The heretical views are pessimistic and content to be so: there is no such way, and that is because there is simply nothing to reconcile – because there is really nothing special about what is in question; or there is really nothing ordinary about it; or there is really nothing …. (shrink)

This paper argues that Gareth Evans' treatment of first person reference based on the myriad ways we have of receiving information about our bodies and location, cannot secure the guaranteed reference exhibited by first person reference. It faces a problem both when a subject fails to receive such information about herself, and when she receives misinformation.

What determines the reference of first-person thoughts—thoughts that one would express using the first-person pronoun? I defend a model on which our ways of gaining knowledge of ourselves do, in much the way that our ways of gaining knowledge of objects in the world determine the reference of perceptual demonstrative thoughts. This model—the Demonstrative Model of First-Person Thought—can be motivated by reference to independently plausible general principles about how reference is determined. But it faces a serious objection. There seems to (...) be an explanatory rival to it with a great deal of plausiblility. The rival is The Simple Rule Model, which says that first-person thoughts are governed by the simple rule that any token of one will be about the person whose token it is. I pinpoint a crucial unclarity in The Simple Rule Model, hinging on how we understand the notion of a rule, and argue that no version of the Simple Rule Model is both plausible and a genuine explanatory rival to the Demonstrative Model. I also provide an argument that the Demonstrative Model is extensionally adequate. (shrink)

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

What are facts, situations, or events? When Situation Semantics was born in the eighties, I objected because I could not swallow the idea that situations might be chunks of information. For me, they had to be particulars like sticks or bricks. I could not imagine otherwise. The first manuscript of “An Investigation of the Lumps of Thought” that I submitted to Linguistics and Philosophy had a footnote where I distanced myself from all those who took possible situations to be units (...) of information. In that context and at that time, this meant Jon Barwise and John Perry. (shrink)

Many have held that photographs give us a firmer epistemic connection to the world than do other depictive representations. To take just one example, Bazin famously claimed that “The objective nature of photography confers on it a quality of credibility absent from all other picture-making” ([Bazin, 1967], 14). Unfortunately, while the intuition in question is widely shared, it has remained poorly understood. In this paper we propose to explain the special epistemic status of photographs. We take as our starting place (...) (in §1) Kendall Walton’s startling proposal that photographs are special because they are “transparent” [Walton, 1984] — that is, that they are special because, unlike other depictive representations, they enable us literally to see their depicta.1 Walton’s proposal has not convinced many; however, it has proven surprisingly difficult to say just what is wrong about the transparency thesis. In §§2–4 we’ll rise to this challenge and show why photographs are not transparent in Walton’s sense. Finally, in §§5–7 we’ll propose and defend a novel diagnosis of what is epistemically special about photographs. (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)

In this book John Campbell shows that the general structural features of human thought can be seen as having their source in the distinctive ways in which we...

Minimal Semantics asks what a theory of literal linguistic meaning is for - if you were to be given a working theory of meaning for a language right now, what would you be able to do with it? Emma Borg sets out to defend a formal approach to semantic theorising from a relatively new type of opponent - advocates of what she call 'dual pragmatics'. According to dual pragmatists, rich pragmatic processes play two distinct roles in linguistic comprehension: as well (...) as operating in a post-semantic capacity to determine the implicatures of an utterance, they also operate prior to the determination of truth-conditional content for a sentence. That is to say, they have an integral role to play within what is usually thought of as the semantic realm. Borg believes dual pragmatic accounts constitute the strongest contemporary challenge to standard formal approaches to semantics since they challenge the formal theorist to show not merely that there is some role for formal processes on route to determination of semantic content, but that such processes are sufficient for determining content. Minimal Semantics provides a detailed examination of this school of thought, introducing readers who are unfamiliar with the topic to key ideas like relevance theory and contextualism, and looking in detail at where these accounts diverge from the formal approach. Borg's defence of formal semantics has two main parts: first, she argues that the formal approach is most naturally compatible with an important and well-grounded psychological theory, namely the Fodorian modular picture of the mind. Then she argues that the main arguments adduced by dual pragmatists against formal semantics - concerning apparent contextual intrusions into semantic content - can in fact be countered by a formal theory. The defence holds, however, only if we are sensitive to the proper conditions of success for a semantic theory. Specifically, we should reject a range of onerous constraints on semantic theorizing (e.g., that it answer epistemic or metaphysical questions, or that it explain our communicative skills) and instead adopt a quite minimal picture of semantics. (shrink)

Imogen Dickie develops an account of aboutness-fixing for thoughts about ordinary objects, and of reference-fixing for the singular terms we use to express them. Extant discussions of this topic tread a weary path through descriptivist proposals, causalist alternatives, and attempts to combine the most attractive elements of each. The account developed here is a new beginning. It starts with two basic principles, the first of which connects aboutness and truth, and the second of which connects truth and justification. These principles (...) combine to yield a third principle connecting aboutness and justification. Dickie uses the principle to explain how the relations to objects that enable us to think about them--perceptual attention; understanding of proper names; grasp of descriptions--do their aboutness-fixing and thought-enabling work. The book includes discussions of the nature of singular thought and the relation between thought and consciousness. (shrink)

Christopher Peacocke presents a new theory of subjects of consciousness, together with a theory of the nature of first person representation. He identifies three sorts of self-consciousness--perspectival, reflective, and interpersonal--and argues that they are key to explaining features of our knowledge, social relations, and emotional lives.

This book critically examines some widespread views about the semantic phenomenon of reference and the cognitive phenomenon of singular thought. It begins with a defense of the view that neither is tied to a special relation of causal or epistemic acquaintance. It then challenges the alleged semantic rift between definite and indefinite descriptions on the one hand, and names and demonstratives on the other—a division that has been motivated in part by appeals to considerations of acquaintance. Drawing on recent work (...) in semantics, the book explores a more unified account of all four types of expression, according to which none of them paradigmatically fits the profile of a referential term. On the proposed framework, all four involve existential quantification but admit of uses that exhibit many of the traits associated with reference—a phenomenon that is due to the presence of what we call a ‘singular restriction’ on the existentially quantified domain. The book concludes by drawing out some implications of the proposed semantic picture for the traditional categories of reference and singular thought. (shrink)

John Searle's Speech Acts and Expression and Meaning developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, though third (...) in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

A theory of understanding -- Truth's role in understanding -- Critique of justificationist and evidential accounts -- Do pragmatist views avoid this critique? -- A realistic account -- How evidence and truth are related -- Three grades of involvement of truth in theories of understanding -- Anchoring -- Next steps -- Reference and reasons -- The main thesis and its location -- Exposition and four argument-types -- Significance and consequences of the main thesis -- The first person as a case (...) study -- Fully self-conscious thought -- Immunity to error through misidentification relative to the first person -- Can a use of the first-person concept fail to refer? -- Some conceptual roles are distinctive but not fundamental -- Implicit conceptions -- Implicit conceptions : motivation and examples -- Deflationary readings rejected -- The phenomenon of new principles -- Explanation by implicit conceptions -- Rationalist aspects -- Consequences : rationality, justification, understanding -- Transitional -- Applications to mental concepts -- Conceiving of conscious states -- Understanding and identity in other cases -- Constraints on legitimate explanations in terms of identity -- Why is the subjective case different? -- Attractions of the interlocking account -- Tacit knowledge, and externalism about the internal -- Is this the myth of the given? -- Knowledge of others' conscious states -- Communicability : between Frege and Wittgenstein -- Conclusions and significance -- 'Another I' : representing perception and action -- The core rule -- Modal status and its significance -- Comparisons -- The possession-condition and some empirical phenomena -- The model generalized -- Wider issues -- Mental action -- The distinctive features of action-awareness -- The nature and range of mental actions -- The principal hypothesis and its grounds -- The principal hypothesis : distinctions and consequences -- How do we know about our own mental actions? -- Concepts of mental actions and their epistemological significance -- Is this account open to the same objections as perceptual models of introspection? -- Characterizing and unifying schizophrenic experience -- The first person in the self-ascription of action -- Rational agency and action-awareness -- Representing thoughts -- The puzzle -- A proposal -- How the solution treats the constraints that generate the puzzle -- Relation to single-level treatments -- An application : reconciling externalism with distinctive self-knowledge. (shrink)

Lucy O'Brien argues that a satisfactory account of first-person reference and self-knowledge needs to concentrate on our nature as agents. Clearly written, with rigorous discussion of rival views, this book will be of interest to anyone working in the philosophy of mind and action.

By introducing a name ‘one meter’ and stipulating that it refers to the length of stick S, the stipulator appears to be in a position to gain immediate (and arguably a priori) knowledge of a mind- and language-independent fact-the fact that the length of stick S is one meter. It appears that other users of the name can gain this knowledge only through empirical enquiry. I argue that this presents a paradox. After clarifying the nature of the paradox, I offer (...) a solution by arguing that, contrary to appearances, other users of ‘one meter’ implicitly knew that the length of stick S is one meter before learning the name, as did the stipulator prior to introducing the name. There is some distinct knowledge that other users of the name can only gain empirically, but the stipulator cannot gain this knowledge without empirical enquiry either. (shrink)

This is a story about three of my favorite philosophers—Donnellan, Russell, and Frege—about how Donnellan’s concept of having in mind relates to ideas of the others, and especially about an aspect of Donnellan’s concept that has been insufficiently discussed: how this epistemic state can be transmitted from one person to another.

Even though it’s based on a bad argument, there’s something to Strawson’s dictum. He might have likened ‘referring expression’ to phrases like ‘eating utensil’ and ‘dining room’: just as utensils don’t eat and dining rooms don’t dine, so, he might have argued, expressions don’t refer. Actually, that wasn’t his argument, though it does make you wonder. Rather, Strawson exploited the fact that almost any referring expression, whether an indexical, demonstrative, proper name, or definite description, can be used to refer to (...) different things in different contexts. This fact, he argued, is enough to show that what refers are speakers, not expressions. Here he didn’t take seriously the perfectly coherent view that an expression’s reference can vary with context. So, he concluded, what varies from context to context is not what a given expression refers to but what a speaker uses it to refer to. Strawson went on to suggest that there are several dimensions of difference between various sorts of referring expressions: degree of dependence on context, degree of “descriptive meaning,” and being governed by a general convention vs. an expressionspecific one. But despite these differences, he insisted that regardless of kind, referring expressions don’t themselves refer — speakers use them to refer. (shrink)