Call a bit of scientific discourse a description of a missing system when (i) it has the surface appearance of an accurate description of an actual, concrete system (or kind of system) from the domain of inquiry, but (ii) there are no actual, concrete systems in the world around us fitting the description it contains, and (iii) that fact is recognised from the outset by competent practitioners of the scientific discipline in question. Scientific textbooks, classroom lectures, and journal articles abound (...) with such passages; and there is a widespread practice of talking and thinking as though there are systems which fit the descriptions they contain perfectly, despite the recognition that no actual, concrete systems do so—call this the face value practice. There are, furthermore, many instances in which philosophers engage in the face value practice whilst offering answers to epistemological and methodological questions about the sciences. Three questions, then: (1) How should we interpret descriptions of missing systems? (2) How should we make sense of the face value practice? (3) Is there a set of plausible answers to (1) and (2) which legitimates reliance on the face value practice in our philosophical work, and can support the weight of the accounts which are entangled with that practice? In this paper I address these questions by considering three answers to the first: that descriptions of missing systems are straightforward descriptions of abstract objects, that they are indirect descriptions of “property-containing” abstracta, and that they are (in a different way) indirect descriptions of mathematical structures. All three proposals are present in the literature, but I find them wanting. The result is to highlight the importance of developing a satisfactory understanding of descriptions of missing systems and the face value practice, to put pressure on philosophical accounts which rely on the practice, and to help us assess the viability of certain approaches to thinking about models, theory structure, and scientific representation. (shrink)

I begin by distinguishing two notions of model, the notion of a truth-making structure and the notion of a mathematical model (in one specific sense). I then argue that although the models of the semantic view have often been taken to be both truth-making structures and mathematical models, this is in part due to a failure to distinguish between two ways of truth-making; in fact, the talk of truth-making is best excised from the view altogether. The result is a version (...) of the semantic view which is better supported by the direct evidence offered for it, better equipped to achieve its avowed aims, and, I think, closer to the intentions of the original proponents of the view in many ways, despite some of their own declarations to the contrary. (shrink)

Inquiries into the nature of scientific modeling have tended to focus their attention on mathematical models and, relatedly, to think of nonconcrete models as mathematical structures. The arguments of this article are arguments for rethinking both tendencies. Nonmathematical models play an important role in the sciences, and our account of scientific modeling must accommodate that fact. One key to making such accommodations, moreover, is to recognize that one kind of thing we use the term ‘model’ to refer to is a (...) collection of propositions. (shrink)

Australasian Journal of Philosophy, Volume 89, Issue 3, Page 567-570, September 2011.

Image in the Making examines the ways in which digital technology changes our understanding of and engagement with the visual arts. At the current stage of development in digital technology, we cannot always tell, just by looking, that an image was made with digital - versus analog - tools. But a case can be made for fully appreciating an image only in terms of its underlying digital structure and technology.

https://plato.stanford.edu/entries/digital-art/.

explanation is of course that Arnheim was working against the assumption that film cannot be art because it is mere mechanical recording. Thus what he needed to emphasize were all the ways in which film fails to accurately reproduce reality.

This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and frameworks are proposed at (...) the same time as authors review the current state of debate. Given their combination of richness and clarity, the essays in this volume can effectively engage both students, undergraduate or graduate, and academic researchers. (shrink)

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

Leading young scholars present a collection of wide-ranging essays covering central problems in meta-aesthetics and aesthetic issues in the philosophy of mind, as well as offering analyses of key aesthetic concepts, new perspectives on the history of aesthetics, and specialized treatment of individual art forms.

This article surveys the current debate among analytic philosophers and film narratologists about the logic and phenomenology of cinematic narration. Particular attention is given to the question of whether every film that represents a fictional narrative also represents a narrator's fictional narration.

This paper reveals an ulterior motive for insisting on the necessary presence of narrators in film: the desire to fit film into a literary paradigm. Despite important theoretical links between film and literature, the assumption that films must be like novels in always having narrators is unsound. By moving beyond literature in the comparison of narrative media, and focusing specifically on cases of ‘breaking the fourth wall’ in film and theatre, we find that the presence and function of a cinematic (...) narrator depends as much on the features of a specific work as it does on the nature of narrative. (shrink)

The moving frame of a tracking or crane shot, or of a camera tilt or pan, can affect the way we engage with a film narrative. In this paper, I argue that certain uses of the moving frame in narrative fiction film prescribe us to imagine ourselves moving through the world of the film. The existence of such an imaginative prescription ultimately threatens the necessity of the cinematic narrator. In light of the standard indeterminacy of our means of access to (...) fictions, the prescription to imagine moving is not accompanied by a prescription to imagine a narrator providing us with a moving view. (shrink)

Even though philosophy of film is a relatively small and relatively young philosophical subfield, I argue that it is well worth a dedicated undergraduate course. I outline such a course below, with reference to particular anthologies of readings and a corresponding list of central topics. I recommend adopting a broad conception of film, to include moving image works in a range of formats and technological media, as well as an inclusive approach to philosophizing about film, one that draws on the (...) history of film theory, both the analytic and the continental philosophical traditions, critical race theory, and feminist theory. The aim of a philosophy of film course is to hone students’ philosophical skills in the service of a deeper appreciation of the art of moving images. (shrink)

Can we understand brain lateralization in humans by analysis in terms of an evolutionarily stable strategy? The attempt to demonstrate a link between lateralization in humans and that in, for example, fish appears to hinge critically on whether the isomorphism is viewed as a matter of homology or homoplasy. Consideration of human handedness presents a number of challenges to the proposed framework.

Two perspectives from which memories can be retrieved have been distinguished: field resembles the view from the first-person vantage point of original experience, whereas observer resembles the view from the third-person vantage point of a spectator. There is evidence that the incidences of the two types of perspective differ between at least two different cultural groups. It is hypothesised here that this is a special case of a more general relation between memory perspective and cultural individualism, such that field and (...) observer perspectives are more prevalent among people from, respectively, relatively individualist and relatively collectivist societies. Memory perspectives adopted by participants from a range of different countries were recorded, and were found to vary in the predicted manner. Regression analysis showed that the potential effects of three other cultural variables – uncertainty avoidance, masculinity and, to a lesser extent, power distance – were eclipsed by the influence of individualism, and the implications are discussed. (shrink)

I examine recent arguments based on functionalism that claim to show that Bohm's theory fails to solve the measurement problem, or if it does so, it is only because it reduces to a form of the many-worlds theory. While these arguments reveal some interesting features of Bohm's theory, I contend that they do not undermine the distinctive Bohmian solution to the measurement problem. ‡I would like to thank Harvey Brown, Martin Thomson-Jones, and David Wallace for helpful discussions. †To contact (...) the author, please write to: Department of Philosophy, University of Miami, P.O. Box 248054, Coral Gables, FL 33124–4670; e-mail: [email protected] (shrink)

Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...) those who ground art in some conception of verisimilitude. Those worried by the former argument, emphasize editing and montage effects as the essential aspects of cinema, the idea being that the less representational veracity a film presented, the more it could be classified as art. On the other hand, for those who equate the art of film with verisimilitude, it is argued that the realism of film is superior to the realism of the other representational arts due to film’s retrieval of images as opposed to merely representing them. (shrink)

Introduction -- The end of history and the Kantian moment -- The progressive mind and the Islamist challenge -- The incoherence of the philosophers -- The language of progress and the closure of the European mind -- The networked global order -- All roads lead to China -- Maxims or axioms? -- The revenge of politics and the search for order -- Conclusion -- Afterword : the study of international relations and the erosion of acdemic integrity.

Post-Theorybrings together some of the most prominent figures and rising stars in the field of Critical Theory. Essays consider such issues as: the current state of Critical Theory; the type of work Theory has made possible; and the future of theory. Opening with a Preface by Ernesto Laclau, the book closes with a 'Post-Word' from Helene Cixous. This volume of new work features examples of new theoretical possibilities. Contributors include: Catherine Besley, Geoffrey Bennington, Hélène Cixous, Patricia Duncker, Lorna Hutson, Ernesto (...) Laclau, Julian Murphet, Christopher Norris, Nicholas Royle, Robert Smith and Eric Woehrling. Key Features Ground-breaking collection of opinion-changing work Timely and topical intervention into Critical Theory Wide range of approaches and examples of theoretical possibilities Contributors include huge names in the field, such as Catherine Besley, Geoffrey Bennington, Hélène Cixous, Patricia Duncker, Lorna Hutson, Ernesto Laclau, Julian Murphet, Christopher Norris, Nicholas Royle, Robert Smith and Eric Woehrling. (shrink)