In this article I defend what Mark Greenberg has labeled the standard picture of law against the attack on it by Greenberg and Scott Hershovitz. I point out that law on the standard picture’s conception of it has moral virtues that Greenberg's own moral impact theory and Hershovitz’s similar theory lack. Moreover, it avoids a vicious circularity that bedevils Greenberg’s theory.

I discuss "Poetic Naturalism" -- there is only one world, the natural world, but there are many ways of talking about it -- both as a general concept, and how it accounts for our actual world. I talk about emergence, fundamental physics, entropy and complexity, the origins of life and consciousness, and moral constructivism.

Aaron Zimmerman presents a new pragmatist account of belief, in terms of information poised to guide our more attentive, controlled actions. And he explores the consequences of this account for our understanding of the relation between psychology and philosophy, the mind and brain, the nature of delusion, faith, pretence, racism, and more.

Besides mechanistic explanations of phenomena, which have been seriously investigated in the last decade, biology and ecology also include explanations that pinpoint specific mathematical properties as explanatory of the explanandum under focus. Among these structural explanations, one finds topological explanations, and recent science pervasively relies on them. This reliance is especially due to the necessity to model large sets of data with no practical possibility to track the proper activities of all the numerous entities. The paper first defines topological explanations (...) and then explains why topological explanations and mechanisms are different in principle. Then it shows that they are pervasive both in the study of networks—whose importance has been increasingly acknowledged at each level of the biological hierarchy—and in contexts where the notion of selective neutrality is crucial; this allows me to capture the difference between mechanisms and topological explanations in terms of practical modelling practices. The rest of the paper investigates how in practice mechanisms and topologies are combined. They may be articulated in theoretical structures and explanatory strategies, first through a relation of constraint, second in interlevel theories, or they may condition each other. Finally, I explore how a particular model can integrate mechanistic informations, by focusing on the recent practice of merging networks in ecology and its consequences upon multiscale modelling. (shrink)

When I am looking at an apple, I perceptually attribute certain properties to certain entities. Two questions arise: what are these entities (what is it that I perceptually represent as having properties) and what are these properties (what properties I perceive this entity as having)? This paper is about the former, less widely explored, question: what does our perceptual system attribute properties to? In other words, what are these ‘sensory individuals’. There have been important debates in philosophy of perception about (...) what sensory individuals would be the most plausible candidates for which sense modalities. The aim of this paper is to ask a related question about picture perception: what is the sensory individual of picture perception? When we look at a picture and see an apple depicted in it, what kind of entity do we see? What do we perceptually attribute properties to? I argue that the most straightforward candidates (ordinary objects, sui generis sensory individuals, no sensory individuals) are all problematic and that the most plausible candidate for the sensory individuals of picture perception are spatiotemporal regions. (shrink)

There is a type of metaphysical picture that surfaces in a range of philosophical discussions, is of intrinsic interest, and yet remains ill-understood. According to this picture, the world contains a range of standpoints relative to which different facts obtain. Any true representation of the world cannot but adopt a particular standpoint. The aim of this paper is to propose a regimentation of a metaphysics that underwrites this picture. Key components are a factive notion of metaphysical relativity, (...) a deflationary notion of adopting standpoints, and two kinds of valid inference, one that allows one to abandon standpoints and one that does not. To better understand how theories formulated in terms of this framework are situated in dialectical space, I sketch a theory in the philosophy of time that admits both temporal and atemporal standpoints. (shrink)

For Hans Hofmann and Clement Greenberg, flatness–more specifically, “re-created flatness,” a term Greenberg adopted after hearing it used in the painter’s important 1938– 39 lectures–became a key term in their accounts of pictorial meaning. In this paper, I articulate what is significant about that idea and draw out its implications for understanding what Hofmann meant by artistic expression. Ultimately, I suggest that the concept of re-created flatness, and its pictorial realization, implies or entails a certain view of expression: namely, that (...) what is expressed by an artwork is the artist’s meaning (in contradistinction to the arbitrary meanings that may be imputed to her work by a viewer). This paper has three principle objectives. First, I overview Hofmann’s unpublished writings and lectures on aesthetics. So far, the critical analysis and evaluation of these materials have had little visibility in modernist studies. I aim not only to contribute a more specific account of Hofmann’s concepts as they were introduced through his program of aesthetic education but also to situate them in a wider intellectual and critical context. Second, I interpret the significance of those ideas for modernist criticism by focusing especially on the concept of re-created flatness as it appears in the writings of both Hofmann and Greenberg. Finally, I hope to demonstrate that Hofmann’s closely associated notions of flatness, depth, and the picture plane are deeply implicated in the issue of modernist painting’s autonomy, especially as formulated by Greenberg. (shrink)

Using an approach deeply informed by philosophy of art, art history and perceptual psychology, this book places seeing at the centre of an original theory of pictorial representation and explores the ramifications such a theory has for the visual arts.

Many philosophers subscribe to the view that philosophy is a priori and in the business of discovering necessary truths from the armchair. This paper sets out to empirically test this picture. If this were the case, we would expect to see this reflected in philosophical practice. In particular, we would expect philosophers to advance mostly deductive, rather than inductive, arguments. The paper shows that the percentage of philosophy articles advancing deductive arguments is higher than those advancing inductive arguments, which (...) is what we would expect from the vantage point of the armchair philosophy picture. The results also show, however, that the percentages of articles advancing deductive arguments and those advancing inductive arguments are converging over time and that the difference between inductive and deductive ratios is declining over time. This trend suggests that deductive arguments are gradually losing their status as the dominant form of argumentation in philosophy. (shrink)

High levels of somatic symptom distress represent a core component of both mental and physical illness. The exact aetiology and pathogenesis of this transdiagnostic phenomenon remain largely unknown. The Affective Picture Paradigm (APP) represents an innovative experimental paradigm to study somatic symptom distress. Based on the HiTOP framework and a population-based sampling approach, associations between facets of somatic symptom distress and symptoms induced by the APP were explored in two studies (N1 = 201; N2 = 254) using structural equation (...) bi-factor models. Results showed that the APP effect was significantly positively correlated with general somatic symptom distress (PHQ-15, HiTOP), cardio-respiratory symptoms (PHQ-15), as well as difficulties identifying feelings. In conclusion, negative affective cues in the APP can elicit somatic symptoms, particularly in people with higher levels of somatic symptom distress. Difficulties identifying feelings might contribute to this phenomenon. Results are compatible with a predictive processing account of somatic symptom perception. (shrink)

ABSTRACT Oscar Wilde's only novel, The Picture of Dorian Gray, has often been viewed as an extension of the escapist aestheticist doctrine of his critical essays and of his utopian vision put forth in “The Soul of Man Under Socialism.” Taking the novel as an instance of a bargain-with-the-devil tale, this essay explores the possibility that, in Dorian Gray, Wilde subjected his abstract utopianism to a concrete fictional experiment, finding it wanting in terms of its omission of the social (...) consequences of self-development through Individualism. (shrink)

While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological (...) account. I argue that seeing trompe l’oeil paintings is, just as some philosophers suggested, different from other cases of picture perception. Further, the way our perceptual system functions when seeing trompe l’oeil paintings could be an important piece of the psychological explanation of perceiving pictures. (shrink)

This NATO Advanced Study Institute centered on large-scale molecular systems: Quantum mechanics, although providing a general framework for the description of matter, is not easily applicable to many concrete systems of interest; classical statistical methods, on the other hand, allow only a partial picture of the behaviour of large systems. The aim of the ASI was to present both aspects of the subject matter and to foster interaction between the scientists working in these important areas of theoretical physics and (...) theoretical chemistry. The quantum-mechanical part was mostly based on the operator-algebraic formulation of quantum mechanics and comprised quantum statistics of infinite systems with special em phasis on macroscopic observables, equilibrium conditions, irreversibility on the one hand, symmetry breaking for molecules in the radiation field and macroscopic quantum phenomena in the theory of superconductivity (BCS-theory) on the other hand. In addition, phase-space methods for many-body systems were also presented. Statistical physics was the main topic in the other lectures of the School; much emphasis was put on the statistical features of macros copic ("large") systems, the lectures dealt with mass and energy transport im polymers, in gels and in microemulsions, with aggregation and growth phenomena, with relaxation in complex, correlated systems, with conduction and optical properties of polymers, and with the means of describing disordered systems, above all fractals and related hierarchical models. (shrink)

This article introduces a satellite technology, High Resolution Picture Transmission (HRPT), for a science activity. HRPT is a digital data stream transmitted from environmental satellites. The HRPT imagery is capable of providing real-time studies of regional geology, glacial processes, atmospheric processes, ocean circulation, coastal processes, hydrology, and so on. Obtaining and manipulating HRPT data creates a variety of exciting experiences in science classrooms. A Science and Technology for Individuals, Societies, and the Environment (STISE) teaching model was developed to use (...) satellite technologies for science activities. STISE is a conceptual model for addressing key cognitive and affective parameters when designing science lessons. STISE is designed to encourage students to understand science and technology from their levels of cognition, then relate their understanding to the environment, levels of societies, and their lives. Relationships among science, technology, and society become both obvious and interesting to students as they process and interpret the HRPT imagery. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 114-121 [Access article in PDF] TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff's book invites us on a journey into photography's multiple roles. Photographic images transform their subjects at the same time that they themselves are the results of transformations. They (...) also complicate comfortable distinctions between fact and fiction because the world from which they come is complicated.This book appears at a time full of fear (felt by some) and excitement (felt by others) sparked by digital image-making, in which the culture of photography is undergoing transformations of its own. It is a passionate time, with some unwilling to throw the still photograph into the "defunct" pile, while others are all too ready to do so. The limits and possibilities of the still photograph need to be redefined if it is going to have any meaning to anyone anymore.Through the din of voices, through the heated discussions, Savedoff's voice rings clear. Her meditations on the nature of still photography and its relation to the pictorial forms that preceded it (painting, drawing, printmaking) and proceed from it (film, digital photography) are written in a style that seeks to include, not exclude the reader. Art is complicated enough. Writing about art need not complicate it further.Savedoff focuses her inquiry on the way photographs transform works of art and other representations. From the insight that this specificity allows, she attempts to build a more general account of photographic transformation. First, she examines the fascination in Western painting — a fascination that has been influenced by legends and literature — with the idea that representations are alive or can come to life. She begins with paintings that actually illustrate such legends. Then she goes on to paintings where the distinction between the "real" and the "represented" is ambiguous. One such type she calls "gestural ambiguity," found frequently in Northern Renaissance and late Italian Renaissance paintings, "where figures that are given the placement and coloring of stone statues are at the same timegiven the expressive aspect or functions of living beings. Artworks are depicted as though they were alive" (p. 14). Another type, "perceptual ambiguity," is found in Postimpressionist paintings, when artworks and "real" things are painted in the same manner (p. 24). The latter type of ambiguity is created when paintings or sculptures within a painting are depicted in a styleand scale similar to their surroundings, blurring the distinction between what is "real" and what is "represented" in the painting.Savedoff uses some excellent examples in analyzing these ambiguities. And just when the reader begins [End Page 114] to question whether, if there are different ways of achieving ambiguity in paintings of artworks, there must also be different purposes for each, Savedoff addresses precisely this. "In paintings from the Renaissance to Impressionism," she writes, "ambiguity is used to further an ideal of illusionism in art: the artwork is shown as capable of life or at least of being confused with real things" (p. 30). Although this kind of ambiguity may animate representations within the painting, it does so without casting doubt on the status of the "real" things depicted. In contrast, ambiguity used in Postimpressionist paintings were done so for quite a different effect: "to undermine any tendency of the painting toward illusionism and to undercut the status of the 'real' things depicted" (p. 30).Although she critiques the nature and purpose of ambiguity in paintings thoroughly, when Savedoff addresses ambiguity in photography her conclusions are not as well defended. In photography, she writes, "perceptual ambiguity"— that is, the blurring of the distinctions between people and representations — can result from the nature of the medium itself: "the stillness, the flatness, and, in black and white photographs, the limitation of monochrome values" (p. 43). A deliberate choice of angle, framing, and lighting by the photographer can alsoreduce the differences. "Gestural ambiguity" in photography, she continues, can be created when the photographer juxtaposes... (shrink)

I provide a brief précis of Aaron Zimmerman’s book, Belief: A Pragmatic Picture, then explore two possible problems for the view. The first concerns whether the account of belief can successfully intervene in the debate between those who hold emotions are partly constituted by evaluative beliefs and those who deny this. The second concerns whether the view can explain that distinctive form of white ignorance that is manifest in an unwillingness to draw relatively obvious action-guiding beliefs from widely shared (...) information. Thinking about cases of this kind raises the question of whether Zimmerman’s account is problematically individualist, because of downplaying the importance of converging on an account of belief given the role of belief attribution in a suite of critical practices that are essential to communities of inquiry. If we, collectively, must commit to converging on an account of belief, but different accounts serve the interests of different groups, then the meta-level thesis that we should choose an account on pragmatic grounds raises the question of whose interests such an account should serve. (shrink)

In some sections of On Certainty, Wittgenstein uses the term “persuasion,” pitting it, on the one hand, against “giving reasons”, and comparing it, on the other, to conversion, while, finally, defining it as “giving someone one's own picture of the world.” In this essay, I analyse these sections, in an effort to fit them into the broader context of On Certainty, and to clarify the meaning and the limits of the comparison between persuasion and conversion. My aim is to (...) show that persuasion as Wittgenstein understands it here is quite similar to what we could call “re-education.”. (shrink)

In this paper, I will present several interpretations of Brentano’s notion of the intentional inexistence of a mental state’s intentional object, i.e., what that state is about. I will moreover hold that, while all the interpretations from Section 1 to Section 4 are wrong, the penultimate interpretation that I focus in Section 5, the one according to which intentional inexistence amounts to the individuation of a mental state by means of its intentional object, is correct provided that it is nested (...) into the really right interpretation, the final one I give in Section 6. For it provides one of the merely necessary conditions of this latter interpretation. According to this final interpretation,intentional inexistence amounts to the constitution of a mental state by means of its intentional object. Finally, I will hold that both such interpretations preserve the idea, which strikes everyone as true, that an intentional object exists in the mental state aboutit pretty much as a pictorial character exists in the picture (qua interpreted entity) that depicts it. (shrink)

Functional reduction follows two familiar steps: a definition of a higher-level or special science property in terms of a functional role, then a statement describing a physical property that plays or occupies that role. But Kim (2005) adds a third step, namely, an explanation regarding how the physical property occupies the functional role. I think Kim is correct. But how is the third step satisfied? An examination of the pertinent scientific explanations reveals that the third step is best satisfied by (...) a multiple-subject, part-whole explanation, which is to say, a decomposition of the occupier’s causal capacities or relations. This is true even in cases wherein role and occupant properties are identical, for an occupier’s causal capacities are always underwritten by a part-whole explanation. As a consequence, functional reduction is transformed into a larger picture that at bottom always contains multiple layers of distinct, nonidentical properties that divide between parts and their whole systems. I call it “Part-Based Functional Reduction.” My aim is to develop this larger picture of reduction. (shrink)

A recent Letter to the Editor in Anthropology of Consciousness, by Sosteric, Ratkovic, and Sosteric, is positioned as a critique of my article “Imaginal Research for Unlearning Mastery: Divination With Tarot as a Decolonizing Methodology.” The letter posits that the esoteric tarot is a repository of colonial ideological propaganda, and because of that, it cannot and should not be used as a tool for decolonial practices. However, the letter is misleading in its implications that what I have proposed in my (...) article cannot be a methodology for decolonizing mental models, and includes statements about my position which are incorrect. This response clarifies and expands on ideas from my article—both about the tarot and also about the carceral mental models my article attempts to address—in part by highlighting the modern/colonial underpinnings of Sosteric et al.'s critique. (shrink)

Even after Willard Quine’s critique of the analytic-synthetic distinction in “Two Dogmas of Empiricism,” Wilfrid Sellars maintained some forms of analyticity or truth in virtue of meaning. In this article, I aim to reconstruct (a) his neglected account of the analytic-synthetic distinction and the revisability of analytic sentences, (b) its connection to his inferentialist account of meaning, and (c) his response to Quine. While Sellars’s account of the revisability of analytic sentences bears certain similarities to Carnap’s and Grice and Strawson’s (...) accounts, it is still striking in that it is part of his broader picture of how our language develops dynamically in our ongoing inquiry. I aim to show how it relates to his account of how the diachronic continuity in meaning, language, or conceptual framework can be preserved through a revision of analytic sentences and to his evolutionary account of the development of our language or conceptual framework. (shrink)

We support the development of non-reductive cognitive science and the naturalization of phenomenology for this purpose, and we agree that the ‘relational turn’ defended by Gallagher is a necessary step in this direction. However, we believe that certain aspects of his relational concept of nature need clarification. In particular, Gallagher does not say whether or how teleology, affect, and other value-related properties of life and mind can be naturalized within this framework. In this paper, we argue that (1) given the (...) phenomenological standards recognized by Gallagher, his commitment to a naturalized phenomenology should entail a commitment to a naturalized concept of value; and (2) the kind of ‘relational nature’ described by Gallagher in his paper is insufficient for this purpose. (shrink)

The domain of phenomenological investigation delineated by the Husserlian term authentic empathy presents us with an immediate tension. On the one hand, authentic empathy is supposed to grant the subject access (in some sense that remains to be fully specified) to the Other’s experience. On the other hand, foundational phenomenological considerations pertaining to the apprehension of a foreign subjectivity determine that it is precisely a disjunction in subjective processes that is constitutive of the Other being other. In my approach to (...) this problem, I seek, within the context of a reading of Edith Stein’s work 'On the Problem of Empathy', to clarify the place of ascription in authentic empathy, and to render more explicit a certain notion of “contiguity” that I take to be informing Stein’s understanding of the co-givenness of the Other’s mental life. I go on to argue that a resolution to the problem of empathy lies in the idea that the respective lived experiences of self and Other are, as a matter of descriptive fact, phenomenally connected by a relation of resemblance, and that, consonantly, the essential structure of authentic empathy is characterised in its mature phases by an homological relation to picture consciousness. (shrink)

In this study, we propose a new approach based on fuzzy TODIM (Portuguese acronym for interactive and multicriteria decision-making) for decision-making problems in uncertain environments. Our method incorporates group utility and individual regret, which are often ignored in traditional multicriteria decision-making (MCDM) methods. To enhance the analysis and application of fuzzy sets in decision-making processes, we introduce novel entropy and distance measures for q-rung picture fuzzy sets. These measures include an entropy measure based on the sine function and a (...) distance measure derived from the Jensen-Shannon divergence. In our methodology, incorporating the sine function into the entropy measure stands out as a distinctive decision, grounded in a profound understanding of the inherent characteristics of fuzzy sets. Utilizing the sine function proves especially advantageous when handling fuzzy sets that exhibit cyclical variations or fluctuations in their membership degrees. We effectively weight the criteria for an improved evaluation by using this new entropy measure. The introduced distance measure finds application in the TODIM approach, allowing the execution of TODIM method steps within a fuzzy environment until the determination of one alternative’s dominance over another—an advancement beyond traditional approaches. We apply our enhanced fuzzy TODIM method to a real-life construction project management problem from the literature and compare the results with those in the literature and obtained from other MCDM methods. Our proposed measures are robust, as demonstrated by the sensitivity analysis that varied the weights of group utility and individual regret, with the results visualized in a 3D sensitivity plot. The findings demonstrate the superiority of our method in providing a more comprehensive evaluation of alternatives, making it a useful tool for decision-makers facing complex and uncertain decision-making problems. (shrink)

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...) constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

The domain of phenomenological investigation delineated by the Husserlian term authentic empathy presents us with an immediate tension. On the one hand, authentic empathy is supposed to grant the subject access (in some sense that remains to be fully specified) to the Other’s experience. On the other hand, foundational phenomenological considerations pertaining to the apprehension of a foreign subjectivity determine that it is precisely a disjunction in subjective processes that is constitutive of the Other being other. In my approach to (...) this problem, I seek, within the context of a reading of Edith Stein’s work On the Problem of Empathy, to clarify the place of ascription in authentic empathy, and to render more explicit a certain notion of “contiguity” that I take to be informing Stein’s understanding of the co-givenness of the Other’s mental life. I go on to argue that a resolution to the problem of empathy lies in the idea that the respective lived experiences of self and Other are, as a matter of descriptive fact, phenomenally connected by a relation of resemblance, and that, consonantly, the essential structure of authentic empathy is characterised in its mature phases by an homological relation to picture consciousness. (shrink)

After describing Wittgenstein's notion of ‘certainty’, in this article I provide four arguments to demonstrate that no certainty can be acquired at will. Specifically, I argue that, in order to assimilate a certainty, it is irrelevant whether the individual concerned has found a ground that seemingly justifies that certainty; has a given mental state; is willing to accept the certainty on the proposal of a persuader; or tries to act according to the certainty involved. Lastly, I analyse how each of (...) these arguments is reflected in the way children acquire certainties. (shrink)

How do legal texts determine legal content? A standard answer to this question—sometimes called “the standard picture”—is that legal texts communicate something and what they communicate is identical to legal content. Mark Greenberg criticizes the standard picture and offers in its place his own “moral impact theory.” My goal here is to respond to Greenberg by showing how the standard picture better explains legal practice than the moral impact theory does. To that end, I first clarify certain (...) aspects of the moral impact theory. I then critique the theory, focusing on its inability to explain (i) why practitioners reason about legal content as they do and (ii) why they agree on legal content as often as they do. Finally, I refine the standard picture and demonstrate how it explains what the moral impact theory cannot. (shrink)

This article is concerned with Klee’s belief that ‘intuition’ is indispensable to the artistic and scientific understanding of natural processes and laws of nature. Examples of his pictorial practice are discussed which derive from the as yet for the most part unpublished and little studied writings from the period at the Bauhaus. Taking the methodologically diverse literature about Klee into account, this paper tries to understand Klee’s ‘scientism’ in the cultural and theoretical context of his time.Keywords: Intuition; Genius; E. T. (...) A. Hoffmann; Wilhelm Worringer. (shrink)

It has been proposed that, whilst implicit attitudes, alike beliefs, are propositionally structured, 629–658, 2016), the former respond to evidence and modulate other attitudes in a fragmented manner, and so constitute a sui generis class, the “patchy endorsements”, 800–823, 2015). In the following, I demonstrate that the patchy endorsements theorist is committed to the truth of two claims: no implicit attitude is responsive to content to the same extent as any belief; and there is a significant gap between the most (...) responsive implicit attitude and the least responsive belief. I argue that both and fail to hold. Many implicit attitudes respond to evidence and modulate other attitudes. Meanwhile, at least some ordinary beliefs exhibit lower evidence-responsiveness and inferential efficacy than at least some implicit attitudes, defeating and. A better interpretation is that attitudes may be ordered along a continuum according to their responsiveness to content. At one extreme end, we find attitudes usually identified as implicit, and at the other, attitudes usually identified as beliefs, but in the middle, there is an area of overlap. I consider the consequences of the continuum view for existing folk psychological concepts. (shrink)