What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way we try to account for (...) caricature and for some basic features of pictorial representations. (shrink)

Bis zum Ende leben. Überleben. Im Anderen. Dies ist das letzte große Thema, welches Ricœur beschäftigt hat. Die in dieser Ausgabe erstmals in deutscher Übersetzung vorgelegten Fragmente aus dem Nachlaß sind weniger eine Auseinandersetzung mit dem Tod als mit dem Leben und Überleben. Es ist das große Trauma des 20. Jahrhunderts, jener, die die Vernichtungslager überlebt haben und die Jorge Semprun in seinem Buch "Schreiben oder Leben", mit dem Ricœur sich auseinandersetzt, als Wiedergänger bezeichnet, weder tot noch lebend, jene, die (...) scheinbar ihren eigenen Tod überlebt, sich selbst überlebt haben. Aber es steht auch für ein ganz persönliches Trauma, nämlich den Tod seiner Frau Simone, dessen Etappen Catherine Goldenstein im Nachwort skizziert. Der Gedanke der Trauer oder Trauerarbeit wird inspiriert von dieser Verlusterfahrung, dem Verlust eines geliebten Menschen. Beide Traumata halten einander dabei die Waage. Gegen den anonymen Massentod, dem kein Sinn mehr abzuringen ist, für den es keine wirkliche Trauerarbeit gibt, stellt sich der Verlust eines geliebten, einem nahestehenden Menschen. Das Bindeglied zwischen beiden stellt die Vorstellungs- oder Einbildungskraft dar. Sie ermöglicht eine Antizipation, eine Vergegenwärtigung sowie eine Anstelle-von-Substitution. Es ist die Antizipation des eigenen Todes in der Vergegenwärtigung der anderen Toten, an deren Stelle wir uns projizieren. (shrink)

Ralph Cudworth (1617-88) was one of the Cambridge Platonists. His major work, The True Intellectual System of the Universe, was completed in 1671, a year after Spinoza published (anonymously) the Tractatus Logico-philosophicus. It was published a few years later, in 1678. Cudworth offers a spirited attack against the materialism and mechanism of Thomas Hobbes. His work is couched as a search for truth among the ancient philosophers, and this paper examines his use of the Presocratics as a tool for discussing (...) the issues of his day. (shrink)

Science relies on models and idealizations that are known not to be true. Even so, science is epistemically reputable. To accommodate science, epistemology should focus on understanding rather than knowledge and should recognize that the understanding of a topic need not be factive. This requires reconfiguring the norms of epistemic acceptability. If epistemology has the resources to accommodate science, it will also have the resources to show that art too advances understanding.

The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, (...) or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

Truth is standardly considered a requirement on epistemic acceptability. But science and philosophy deploy models, idealizations and thought experiments that prescind from truth to achieve other cognitive ends. I argue that such felicitous falsehoods function as cognitively useful fictions. They are cognitively useful because they exemplify and afford epistemic access to features they share with the relevant facts. They are falsehoods in that they diverge from the facts. Nonetheless, they are true enough to serve their epistemic purposes. Theories that contain (...) them have testable consequences, hence are factually defeasible. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

The book contains a unique epistemological position that deserves serious consideration by specialists in the subject."--Bruce Aune, University of Massachusetts.

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

If understanding is factive, the propositions that express an understanding are true. I argue that a factive conception of understanding is unduly restrictive. It neither reflects our practices in ascribing understanding nor does justice to contemporary science. For science uses idealizations and models that do not mirror the facts. Strictly speaking, they are false. By appeal to exemplification, I devise a more generous, flexible conception of understanding that accommodates science, reflects our practices, and shows a sufficient but not slavish sensitivity (...) to the facts. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

The concept of biopolitics has been one of the most important and widely used in recent years in disciplines across the humanities and social sciences. In Biopolitics, Mills provides a wide-ranging and insightful introduction to the field of biopolitical studies. The first part of the book provides a much-needed philosophical introduction to key theoretical approaches to the concept in contemporary usage. This includes discussions of the work of Michel Foucault, Giorgio Agamben, Hannah Arendt, Roberto Esposito, and Antonio Negri. In the (...) second part of the book, Mills discusses various topics across the categories of politics, life and subjectivity. These include questions of sovereignty and governmentality, violence, rights, technology, reproduction, race, and sexual difference. This book will be an indispensable guide for those wishing to gain an understanding of the central theories and issues in biopolitical studies. For those already working with the concept of biopolitics, it provides challenging and provocative insights and argues for a ground-breaking reorientation of the field. (shrink)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to (...) see them. This account meets the criteria I have identified and is superior to alternative accounts of realism. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. Nor is (...) her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the .. (shrink)

This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.

I argue that models enable us to understand reality in ways that we would be unable to do if we restricted ourselves to the unvarnished truth. The point is not just that the features that a model skirts can permissibly be neglected. They ought to be neglected. Too much information occludes patterns that figure in an understanding of the phenomena. The regularities a model reveals are real and informative. But many of them show up only under idealizing assumptions.

"Systematizes and develops in a comprehensive study Nelson Goodman's philosophy of language. The Goodman-Elgin point of view is important and sophisticated, and deals with a number of issues, such as metaphor, ignored by most other theories." --John R. Perry, Stanford University.

Cognitive scientists routinely distinguish between controlled and automatic mental processes. Through learning, practice, and exposure, controlled processes can become automatic; however, whether automatic processes can become deautomatized – recuperated under the purview of control – remains unclear. Here we show that a suggestion derails a deeply ingrained process involving involuntary audiovisual integration. We compared the performance of highly versus less hypnotically suggestible individuals in a classic McGurk paradigm – a perceptual illusion task demonstrating the influence of visual facial movements on (...) auditory speech percepts. Following a posthypnotic suggestion to prioritize auditory input, HSIs but not LSIs manifested fewer illusory auditory perceptions and correctly identified more auditory percepts. Our findings demonstrate that a suggestion deautomatized a ballistic audiovisual process in HSIs. In addition to guiding our knowledge regarding theories and mechanisms of automaticity, the present findings pave the road to a more scientific understanding of top-down effects and multisensory integration. (shrink)

In the seventeenth century the microscope opened up a new world of observation, and, according to Catherine Wilson, profoundly revised the thinking of scientists and philosophers alike. The interior of nature, once closed off to both sympathetic intuition and direct perception, was now accessible with the help of optical instruments. The microscope led to a conception of science as an objective, procedure-driven mode of inquiry and renewed interest in atomism and mechanism. Focusing on the earliest forays into microscopical research, (...) from 1620 to 1720, this book provides us with both a compelling technological history and a lively assessment of the new knowledge that helped launch philosophy into the modern era. Wilson argues that the discovery of the microworld--and the apparent role of living animalcula in generation, contagion, and disease--presented metaphysicians with the task of reconciling the ubiquity of life with human-centered theological systems. It was also a source of problems for philosophers concerned with essences, qualities, and the limits of human knowledge, whose positions are echoed in current debates about realism and instrument-mediated knowledge. Covering the contributions of pioneering microscopists (Leeuwenhoek, Swammerdam, Malpighi, Grew, and Hooke) and the work of philosophers interested in the microworld (Bacon, Descartes, Leibniz, Malebranche, Locke, and Berkeley), she challenges historians who view the abstract sciences as the sole catalyst of the Scientific Revolution as she stresses the importance of observational and experimental science to the modern intellect. (shrink)

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.

In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the notion of outline (...) shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)

Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing and painting. (...) I examine whether or not such skepticism is warranted and argue that it is not. Nevertheless, I identify limitations on the independent artistic significance of another form of printmaking, namely that which involves producing prints from multiple matrices. (shrink)

This paper tries to explain how individuals manage adaptive individual choice (i.e., the decision to acquire a fitter than average behavior or idea rapidly and tractably) in cultural evolution, despite the fact that acquiring fitness information is very difficult. I argue that the means of solving this problem suggested in the cultural evolution literature largely are various types of decision rules employing representations of fitness correlated properties or states of affairs. I argue that the problem of adaptive individual choice is (...) best solved where some of these learning rule representations are socially transmitted and some are biologically transmitted. (shrink)

The arts and the sciences perform many of the same cognitive functions, both serving to advance understanding. This paper explores some of the ways exemplification operates in the two fields. Both scientific experiments and works of art highlight, underscore, display, or convey some of their own features. They thereby focus attention on them, and make them available for examination and projection. Thus, the Michelson-Morley experiment exemplifies the constancy of the speed of light. Jackson Pollock's "Number One" exemplifies the viscosity of (...) paint. Despite their similarities, science and art might seem to differ in their attitude toward facts. Science is said to adhere to facts; art, to be indifferent to them. Such, I urge, is not the case. Science, like art, often scorns fact to advance understanding through fiction. Thought experiments, I contend, are scientific fictions; literary and pictorial fictions, aesthetic thought experiments. (shrink)

Human beings are epistemically interdependent. Much of what we know and much of what we need to know we glean from others. Being a gregarious bunch, we are prone to venturing opinions whether they are warranted or not. This makes information transfer a tricky business. What we want from others is not just information, but reliable information. When we seek information, we are in the position of enquirers not examiners. We ask someone whether p because we do not ourselves already (...) know whether p. So we cannot check our informant’s bona fides by seeing whether she is speaking the truth about p. We need grounds for trust. In What’s the Point of Knowledge? Michael Hannon maintains that this is the predicament that underlies the concept of knowledge. The we here is comprehensive. Evidently, every language has a word for knowledge. This, Hannon suggests, indicates that the concept of knowledge satisfies a universal human need. A goal, if not the goal, of epistemology is to identify that need and ascertain how it is satisfied. Following Craig, Hannon argues that the point of knowledge is to enable us to identify good – that is, suitably reliable – informants. Let us call this the information transfer view. (shrink)

Discussions of psychiatric nosology focus on a few popular examples of disorders, and on the validity of diagnostic criteria. Looking at Anorexia Nervosa, an example rarely mentioned in this literature, reveals a new problem: the DSM has a strict taxonomic structure, which assumes that disorders can only be located on one branch. This taxonomic assumption fails to fit the domain of psychopathology, resulting in obfuscation of cross-category connections. Poor outcomes for treatment of Anorexia may be due to it being pigeonholed (...) as an Eating Disorder, when a disturbance of body perception may be a more central symptom than food restriction. This paper explores the possibility of restructuring the DSM taxonomy to allow for a pluralist classification of disorders. This change could improve treatment and research without requiring any changes to diagnostic criteria. (shrink)

Edward Craig and Michael Hannon agree that the function of knowledge is to enable us to identify informants whose word we can safely take. This requires that knowers display a publicly recognizable mark. Although this might suffice for information transfer, I argue that the position that emerges promotes testimonial injustice, since the mark of a good informant need not be shared by all who are privy to the facts we seek. I suggest a way the problem might be alleviated.

Early followers of Jesus and later rabbinical Jews, two divergent branches of Judaism emerging respectively from the Second Temple and Post-Second Temple eras, both drew upon the cultural memory of Sinai to establish their identity. This article examines how the author of Acts used the Sinai imagery of theophanic fire in the Pentecost narrative of Acts 2 to reinforce a continu­ation of Judaism and offer an inclusive expansion of it to gentile believers. Then it looks at how later rabbinic sources (...) used Sinai images of fire and multiple languages to reinforce the authority of the Torah and their exclusive identity within the Sinai relationship. (shrink)

While there is general agreement on the need to teach ethics in the MBA classroom, there are great difficulties in completely integrating such material within the confines of an actual MBA program. This paper attempts to address these difficulties by focusing on the teaching of such issues in one particular class — MBA macroeconomics.Ethical dilemmas often arise due to failures of the market place or due to inappropriate assumptions regarding the market model. Thus, specific suggestions are offered in regard to (...) the integration of ethical issues into the traditional macroeconomic curriculum. Suggestions are even offered as how to scale back the basic macro material so that the additional material may be accommodated. (shrink)