Qu’a donc « voulu dire » l’artiste? Qu’a-t-il recherché? Cette question peut sembler dépassée ou naïve, comme si l’œuvre se suffisait à elle-même. Pour Alessandro Pignocchi, il est impossible de comprendre nos relations aux œuvres d’art sans s’interroger sur les intentions de l’artiste. Les avancées récentes en sciences cognitives suggèrent en effet que chaque aspect de notre expérience d’une œuvre est façonné par les intentions que nous attribuons, pour la plupart inconsciemment, à l’artiste. Nous percevons par exemple, à (...) notre insu, de nombreuses propriétés des œuvres d’art – les traits d’un dessin, certains aspects de la structure des films ou des phrases d’un roman – comme le fruit d’intentions et d’actions que nous aurions nous-mêmes pu produire. Réflexion pluridisciplinaire, cet ouvrage revisite des thèmes classiques de la philosophie de l’art – le concept d’œuvre, la place de l’auteur, du contexte, le rapport de l’œuvre au temps, le statut du jugement artistique – et élabore une série d’outils de pensée visant à enrichir nos relations aux œuvres d’art. Alessandro Pignocchi est docteur de l’EHESS en philosophie et en sciences cognitives, membre de l’Institut Jean-Nicod. Il est aussi illustrateur. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

The interaction between the recovery of the artist’s intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method (...) I propose is to look for cases where recovery of the artist’s intentions interacts with perception of a work of art, and this cannot be explain by a simple top-down influence of conscious propositional knowledge on perception. I will focus on drawing and show that recovery of the draftsman’s intentional actions is handled by a psychological process shaped by the motor system of the observer. (shrink)

The role of personal background knowledge--in particular knowledge about the context of production of an artwork--has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches' explanatory power and framing their collaboration with the humanities (Bullot and Reber, in press). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal (...) background knowledge empirically. I claim that the role of intention attribution in art experience has been incorrectly accounted in the literature because of an overly narrow definition of 'intention.' I suggest that the observer can recover not only the artist's abstract projects, but any kind of mental states that have played a causal role during the production of the work. In addition, I suggest that this recovery occurs in large part unconsciously and/or implicitly. I provide support for these claims by distinguishing three families of psychological mechanisms of intention attribution that are activated by artworks: one involved in the cognition of artifacts, one devoted to communication, and one involved in action perception. (shrink)

The practice of drawing is an ideal study case for framing a cognitive approach to art. In this paper I enumerate six constraints that must be respected by any cognitive theory of drawing production. I evaluate the two major existing theories - Ruskin's theory of the innocent eye and Gombrich' theory of graphic schemes - and show the superiority of Gombrich' theory. I finally provide the first elements for a psychological development of the theory of graphic schemes.

The practice of drawing is an ideal study case for framing a cognitive approach to art. In this paper I enumerate six constraints that must be respected by any cognitive theory of drawing production. I evaluate the two major existing theories – Ruskin’s theory of the innocent eye and Gombrich’ theory of graphic schemes – and show the superiority of Gombrich’ theory. I finally provide the first elements for a psychological development of the theory of graphic schemes.

Over the last decades, disciplines such as cognitive psychology, evolutionary psychology and the neurosciences have shown an increasing interest for art. It remains unclear what kind of relation these "young disciplines" should have with more traditional endeavors and, more generally, in which way they can enrich our understanding of art. In this paper, I lay down the foundations of a methodological framework which distinguishes between three basic topics: the investigation of the cognitive phenomena elicited by the experience of things that (...) we call 'artworks', the investigation of the psychological structures determining the intuitive categorization of something as art and the study of the intuitions and arguments used to build justifications about whether something is a work of art. Each of these topics can benefit from the cognitive approaches, provided that some specific methodological recommendations are respected. (shrink)

The alleged neural basis of empathic responses to artworks is only of marginal relevance for aesthetics and for cognitive theories of art.

This paper investigates a the cognitive foundations of a pragmatic account of line drawings. It sets to highlight those features of line drawings that make them, as opposed to other types of visual representations, particularly conducive to communication. It is argued that representational and artifactual properties of drawings must be investigated together in order to understand the peculiarities of drawings as communicative tools.

Some computational phenomena rely essentially on pragmatic considerations, and seem to undermine the independence of the specification from the implementation. These include software development, deviant uses, esoteric languages and recent data-driven applications. To account for them, the interaction between pragmatics, epistemology and ontology in computational artefacts seems essential, indicating the need to recover the role of the language metaphor. We propose a User Levels (ULs) structure as a pragmatic complement to the Levels of Abstraction (LoAs)-based structure defining the ontology and (...) epistemology of computational artefacts. ULs identify a flexible hierarchy in which users bear their own semantic and normative requirements, possibly competing with the logical specification. We formulate a notion of computational act intended in its pragmatic sense, alongside pragmatic versions of implementation and correctness. (shrink)

The Wealth of Ideas, first published in 2005, traces the history of economic thought, from its prehistory to the present day. In this eloquently written, scientifically rigorous and well documented book, chapters on William Petty, Adam Smith, David Ricardo, Karl Marx, William Stanley Jevons, Carl Menger, Léon Walras, Alfred Marshall, John Maynard Keynes, Joseph Schumpeter and Piero Sraffa alternate with chapters on other important figures and on debates of the period. Economic thought is seen as developing between two opposite poles: (...) a subjective one, based on the ideas of scarcity and utility, and an objective one based on the notions of physical costs and surplus. Professor Roncaglia focuses on the different views of the economy and society and on their evolution over time and critically evaluates the foundations of the scarcity-utility approach in comparison with the Classical/Keynesian approach. (shrink)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of suchordinary (...) aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

Philosophers distinguish between having a property essentially and having it accidentally. The way the distinction has been drawn suggests that it is modal in character, and so that it can be captured in terms of necessity, or cognate notions. The present chapter takes the suggestion at face value by considering a number of modal characterizations of the essential/accidental distinction that have been articulated and discussed since the early 20th century, as well as some of the challenges that they face.

How and to what extent do people take into account the intentions of others? Alessandro Duranti sets out to answer this question, showing that the role of intentions in human interaction is variable across cultures and contexts. Through careful analysis of data collected over three decades in US and Pacific societies, Duranti demonstrates that, in some communities, social actors avoid intentional discourse, focusing on the consequences of actions rather than on their alleged original goals. In other cases, he argues, (...) people do speculate about their own intentions or guess the intentions of others, including in some societies where it was previously assumed they avoid doing so. To account for such variation, Duranti proposes an 'intentional continuum', a concept that draws from phenomenology and the detailed analysis of face-to-face interaction. A combination of new essays and classic re-evaluations, the book draws together findings from anthropology, linguistics and philosophy to offer a penetrating account of the role of intentions in defining human action. (shrink)

Wittgenstein has written a great number of remarks relevant to aesthetical issues: he has questioned the relation between aesthetics and psychology as well as the status of our norms of judgment; he has drawn philosophers attention to such topics as aspect-seeing and aspect-dawning, and has brought insights into the nature of our aesthetic reactions. The examination of this wide range of topics is far from being completed, and the purpose of this book is to contribute to such completion. It gathers (...) both papers discussing some of Wittgenstein s most provocative and intriguing statements on aesthetics, and papers bringing out their implications for art critic and art history, as well as their significance to epistemology and to the study of human mind.". (shrink)

The aim of this paper is to present a system of modal connexive logic based on a situation semantics. In general, modal connexive logics are extensions of standard modal logics that incorporate Aristotle’s and Boethius’ theses, that is the thesis that a sentence cannot imply its negation and the thesis that a sentence cannot imply a pair of contradictory sentences. A key problem in devising a connexive logic is to come up with a system that is both sufficiently strong to (...) fulfill some specific connexive theses and sufficiently well-motivated from a semantical point of view. The approach proposed here tries to address this problem by defining an appropriate connexive relation in terms of more basic notions. The result is a well-motivated system of modal connexive logic that nicely fits in both with the traditional ideas concerning the connexive conditional and with the current developments in connexive logic. (shrink)

L’ambientazione dell’itinerario che qui si propone rinvia ad un’ermeneutica del diritto che concentra l’attenzione non su un settore – costituito da metodologie e principi ai quali attingere per la soluzione di conflitti nella prassi –, ma su una riflessione rigorosa. Tale ordine di pensiero muove dalla filosofia aristotelica del De Interpretatione, sino ai problemi della globalizzazione, trattati interrogandosi se l’ermeneutica occupi o meno un posto prioritario nel complesso universum giuridico. Si prende atto che l’arte dell’interpretazione appare sostituibile con un insieme (...) di teorie argomentative che, con il loro management, rischiano di banalizzare i concetti della responsabilità personale nella vita quotidiana dell’amministrazione della giustizia. (shrink)

This book contains essential contributions to enrich and broaden the application field of pragmatics. It provides an example of how the fruitful reflections and refined conceptual distinctions born in the philosophical field can find a practical application in addressing social, cognitive, clinical, and psychological problems. Its chapters address, from different points of view, the relationship between pragmatic linguistics and philosophy, and outline the possible application of pragmatic theories to different domains. Developed during the third Pragmasophia international conference, whose name is (...) derived from the Greek terms πρᾶγμα (action, fact) and σοφία (knowledge, science), the book aligns itself with its aim to study human actions and activities and how they take shape through language. But ‘Pragma’ and ‘Sophia’ also signal another purpose: highlighting the importance of creating links between empirical investigations on language use, and more traditional philosophical approaches. In this reading, ‘Pragma’ represents the experimental goal devoted to analysing and interpreting language facts. In contrast, the term ‘Sophia’ recalls the original vocation of past philosophers to pursue an ideal of ‘pure knowledge’, disconnected from any practical-economic interest. While maintaining the conference's original purpose of encouraging productive comparisons between different approaches, the book consists of two sections: first, on philosophical approaches, recalls more theoretical aspects (closer to the term ‘Sophia’); the second, ‘Inferential and Cognitive Pragmatics,’ addresses more practical issues affecting domains such as Greek literature, pragmatic disorders, dictionary entries, and speech analysis. The reader, whether in linguists, philosophy or psychology, obtains a complete overview of the most advanced current research lines, both theoretical and empirical, and thus contributes to broadening the scope of pragmatics. (shrink)

Ted Sider has famously argued that existence, in the unrestricted sense of ontology, cannot be vague, as long as vagueness is modeled by means of precisifications. The first section of Chapter 9 exposes some controversial assumptions underlying Sider’s alleged reductio of vague existence. The upshot of the discussion is that, although existence cannot be vague, it can be super-vague, i.e. higher-order vague, for all orders. The second section develops and defends a novel framework, dubbed negative supervaluationary semantics, which makes room (...) for the possibility of super-vague existence. (shrink)

Keenan (1987) observed that trivial determiners built from basic existential determiners (e.g.,either zero or else more than zero) are allowed inthere-insertion contexts, and that trivial determiners built from basic non-existential determiners (e.g.,either all or else not all) are not. This result is unexpected under the analyses ofthere-sentences proposed in Barwise and Cooper (1981), Higginbotham (1987), and Keenan (1987). I argue that the class of NPs barred from the postverbal position ofthere-sentences (strong NPs) is correctly characterized in presuppositional terms, as suggested (...) in de Jong and Verkuyl (1985) and Lumsden (1988). According to this characterization, strong NPs share one of the defining components of definiteness proposed in Heim (1982), namely the Descriptive Content Condition (DCC). How to derive the prohibition against strong NPs inthere-insertion contexts (definiteness effect) from the fact that strong NPs meet the DCC is not obvious, however. I argue that accounting for this prohibition involves regarding the XP-coda in [there be NP XP] as providing the contextual domain for the interpretation of the postverbal NP. (shrink)

Philosophers have rightly condemned lookism—that is, discrimination in favor of attractive people or against unattractive people—in education, the justice system, the workplace and elsewhere. Surprisingly, however, the almost universal preference for attractive romantic and sexual partners has rarely received serious ethical scrutiny. On its face, it’s unclear whether this is a form of discrimination we should reject or tolerate. I consider arguments for both views. On the one hand, a strong case can be made that preferring attractive partners is bad. (...) The idea is that choosing partners based on looks seems essentially similar to other objectionable forms of discrimination. (In particular, the preference for attractive partners is arguably both unfair and harmful to a significant degree.) One can try to resist this conclusion in several ways. I consider three possible replies. The first has to do with the possibility of controlling our partner preferences. The second pertains to attractiveness and “good genes”. The last attempts to link certain aspects of attractiveness to a prospective partner’s personality and values. I argue that the first two replies fail conclusively, while the third only amounts to a limited defense of a particular kind of attractiveness preference. So the idea that we should often avoid preferring attractive partners is compelling. (shrink)

A number of companies allocate ownership rights to stakeholders different from shareholders, despite the fact that the law attributes these rights to the equity holders. This article contributes to an understanding of this evidence by developing a contingency model for the allocation of ownership rights. The model sheds light on why companies, despite pressures from the law, vary in their allocation of ownership rights. The model is based on the assumption that corporations increase their chance to survive and prosper if (...) the stakeholders supplying “critical contributions” receive the ownership rights. According to the model, “critical” contributions involve (1) contractual problems due to specific investments, long-term relationships, and low measurability; (2) the assumption of the uncertainty resting on the company; and (3) the supply of scarce and valuable resources. The model is dynamic because it also provides a basis for understanding why the allocation of ownership rights changes with time. Finally, the article presents the strategies companies can use to realize an efficient distribution of ownership rights among their stakeholders. (shrink)

In 2011, van Dijck and Fias described a positional SNARC effect: the SPoARC. To-be-remembered items presented centrally on a screen seemed to acquire a left-to-right spatial dimension. If confirmed, this spatialization could be crucial for immediate memory theories. However, given the intricate links between visual and spatial dimensions, this effect could be due to the visual presentation, which could have probed the left-to-right direction of reading/writing. To allow a generalization of this effect, we adapted van Dijck and Fias's task using (...) an auditory version of Sternberg's paradigm. Lists of five consonants were auditorily presented at a rate of 3 s/item. A SPoARC effect was observed. The consequences are discussed first from an immediate memory perspective, putting forward the view that order could be coded through spatialization, and then in terms of similarities between SPoARC and SNARC. (shrink)

An influential theory has it that metaphysical indeterminacy occurs just when reality can be made completely precise in multiple ways. That characterization is formulated by employing the modal apparatus of ersatz possible worlds. As quantum physics taught us, reality cannot be made completely precise. I meet the challenge by providing an alternative theory which preserves the use of ersatz worlds but rejects the precisificational view of metaphysical indeterminacy. The upshot of the proposed theory is that it is metaphysically indeterminate whether (...) p just in case it is neither true nor false that p, and no terms in ‘p’ are semantically defective. In other words, metaphysical indeterminacy arises when the world cannot be adequately described by a complete set of sentences defined in a semantically nondefective language. Moreover, the present theory provides a reductive analysis of metaphysical indeterminacy, unlike its influential predecessor. Finally, I argue that any adequate logic of a language with an indeterminate subject matter is neither compositional nor bivalent. (shrink)