Are experience and stimulus necessarily alike? Wertheimer spoke of this as an “insidious and insistent belief”. By contrast, Watson devotes an entire book to the defense of the thesis that representation necessarily requires resemblance. I argue that this bold and important thesis is ambiguous between a historical and a systematic reading, and that in either one of these readings the thesis, for different reasons, will be found wanting. Second, a proper evaluation of it in either one of its (...) possible interpretations requires a careful analysis of the notion of resemblance. I proceed to supply some necessary distinctions and argue that, given such an analysis, Watson's thesis may be historically applicable only to ancient and medieval philosophy, while its systematic import is untenable. (shrink)

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book (...) is to defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. -/- It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. -/- The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors. (shrink)

Descartes was the first to hold that, when we perceive, the representation need not resemble what it represents but should correspond to it. Descartes developed this ground-breaking, influential conception in his work on analytic geometry and then transferred it to his theory of perception. I trace the development of the idea in Descartes’ early mathematical works; his articulation of it in Rules for the Direction of the Mind; his first suggestions there to apply this kind of representation-by-correspondence in (...) the scientific inquiry of colours; and, finally, the transfer of the idea to the theory of perception in The World. (shrink)

I argue that Descartes takes true representation by means of concepts (or clear and distinct ideas) to involve resemblance between those concepts andtheir extra-mental objects. On the basis of analysis of a wide range of important Cartesian texts, I contend we must attribute to Descartes a doctrine of conceptualor intellectual resemblance, according to which ideas or concepts represent objects by resembling them. This doctrine of resemblance entails a further doctrine of property-sharing which, though inherently problematic for (...) Cartesian ontology generally, is nonetheless supported by Descartes’ use of the scholastic distinctionbetween formal and objective reality. (shrink)

What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual (...) metaphors, which are considered to be the most complex ones, and we compare them to those that in language are called indirect metaphors. Our proposal is that a syllogistic mechanism of comprehension permeates both metaphors expressed in the verbal modality as well as metaphors expressed in the pictorial modality. While in the verbal modality the metaphoric syllogism is solved by inference, we argue that in the pictorial modality the role of inference is performed through mental imagery. (shrink)

I consider a class of argument implying that Hume's position on general representation is irredeemably circular in that it presupposes what it is meant to explain. Arguments of this sort (the most famous being Sellars' "myth of the given") threaten to undermine any empiricist account of general representation by showing how they depend on the naïve assumption that the relevant resemblances required for the sorting of experience into concepts for use in reasoning are simply given in experience itself. (...) My aim is to salvage Hume's account from this objection. To that end, I argue first for a "Goodmanesque" interpretation of Humean resemblance, and second for an alternative reading of Hume's account of general ideas offered at T 1.1.7 that avoids falling into "the given" trap. (shrink)

The resemblance theory of representation is the view that one thing represents another by virtue of resembling it. Typically, it is taken as non-controversial that Berkeley accepts the resemblance theory of representation – even if the plausibility of the resemblance theory itself comes under scrutiny. One piece of evidence in favour of this reading of Berkeley is his commitment to the ‘likeness principle’: the view that ‘an idea can be like nothing but an idea’ (PHK (...) § 8). The likeness principle is typically seen as a rejection of the kind of indirect theory of perception that is often attributed to Locke. However, by paying particular attention to Berkeley’s account of how mental representation via the imagination works, Dávid Bartha casts doubt on the consensus view that Berkeley does accept the resemblance theory of representation. (shrink)

One problem faced by resemblance views of depiction is posed by the misrepresentation. Another is to specify the respect in which pictures resemble their objects. To isolate the first, I discuss resemblance in the context of sculpture, where the solution to the second is, prima facie, obvious. The point of appealing to resemblance is to explain how the representation has the content it does. In the case of misrepresenting sculptures, this means appealing to resemblance, not (...) between the sculpture and the object represented as it actually is, but between the former and the latter as it is represented as being. Anxiety that this move empties the view of content can be met by framing carefully the questions that resemblance views should seek to answer. (shrink)

Descartes’ accounts of sensory perception have long troubled his interpreters, for their lack of clear and explicit statements on some fundamental issues. His readers have wondered whether he allows spatial sensory ideas (spatial qualia); whether sensory ideas such as color or pain are representations and, if so, what they represent; and what cognitive value Descartes attributed to sense perception. Recent discussions take differing stands on the questions just mentioned, and also disagree over Descartes’ account of the externalization of sensory qualities, (...) on the origin and correct analysis of the “material falsity” he attributes to some sensory ideas, and on the value of the “teachings of nature.” Such disagreement should not be surprising, for although sensory perception was an important topic for Descartes, his treatment of these particular issues is not systematic – or at least not apparently so. Generally, there are no proof texts that unequivocally settle questions about Descartes’ views on spatial qualia, the representationality of sensory ideas, their cognitive value, externalization, material falsity, and the status of the teachings of nature. Yet these questions and topics naturally arise from matters about which Descartes is explicit and (reasonably) consistent, regarding the role of the senses in philosophy and everyday life and concerning the nature of minds and ideas. It is, therefore, worthwhile to ask what his positions might have been. This chapter develops answers by considering Descartes’ systematic doctrines on the nature of the mind and its ideas and by combing his statements on sensation and perception for hints about how to apply such principles. The first section reviews some key texts. Succeeding sections develop positions on representationality, cognitive value, externalization, material falsity, and the teachings of nature. Ultimately, I favor an interpretation in which, for Descartes, all sensory ideas represent by resemblance, different kinds of sensory ideas vary in cognitive value, externalization arises through spatial localization, and, with sensory ideas of color and the like, as materially false they do not intrinsically misrepresent but afford occasion for false judgments, which arise as merely apparent, and so not actually legitimate, teachings of nature. (shrink)

Many philosophers and psychologists have attempted to elucidate the nature of mental representation by appealing to notions like isomorphism or abstract structural resemblance. The ‘structural representations’ that these theorists champion are said to count as representations by virtue of functioning as internal models of distal systems. In his 2007 book, Representation Reconsidered, William Ramsey endorses the structural conception of mental representation, but uses it to develop a novel argument against representationalism, the widespread view that cognition essentially (...) involves the manipulation of mental representations. Ramsey argues that although theories within the ‘classical’ tradition of cognitive science once posited structural representations, these theories are being superseded by newer theories, within the tradition of connectionism and cognitive neuroscience, which rarely if ever appeal to structural representations. Instead, these theories seem to be explaining cognition by invoking so-called ‘receptor representations’, which, Ramsey claims, aren’t genuine representations at all—despite being called representations, these mechanisms function more as triggers or causal relays than as genuine stand-ins for distal systems. I argue that when the notions of structural and receptor representation are properly explicated, there turns out to be no distinction between them. There only appears to be a distinction between receptor and structural representations because the latter are tacitly conflated with the ‘mental models’ ostensibly involved in offline cognitive processes such as episodic memory and mental imagery. While structural representations might count as genuine representations, they aren’t distinctively mental representations, for they can be found in all sorts of non-intentional systems such as plants. Thus to explain the kinds of offline cognitive capacities that have motivated talk of mental models, we must develop richer conceptions of mental representation than those provided by the notions of structural and receptor representation. (shrink)

Some proponents of structural representations (henceforth, structuralists) claim that no other theory of representation can legitimatize the explanatory appeals that cognitive science makes to mental content. Because other naturalistic approaches to representation purportedly posit an arbitrary relation between representing vehicles and representational content, these approaches must appeal to the role played by a representation, i.e., how it is used by the system in which it is embedded, to ground its content. This is in supposed contrast to structural (...) representations, in which the relation of resemblance results in a non-arbitrary relationship between vehicles and content. Structuralists argue that, as a result, approaches that posit structural representations can, and alternative approaches cannot, explain how representational content can be causally relevant in the production of behavior. In this paper, I will argue that structural representations are susceptible to the very same critiques that proponents level against what they sometimes refer to as “use” theories. This, I contend, is not surprising given that a theory of structural representations is, in fact, just as much a use-theory as alternative approaches. (shrink)

One prominent ambition of theories of colour is to pay full justice to how colours are subjectively given to us; and another to reconcile this first-personal perspective on colours with the third-personal one of the natural sciences. The goal of this article is to question whether we can satisfy the second ambition on the assumption that the first should and can be met. I aim to defend a negative answer to this question by arguing that the various kinds of experienced (...) colour resemblances – notably similarities in hue distance, sameness in superdeterminables, and colour resemblances between surfaces, volumes and illuminants – cannot be accounted for in terms of the mental representation of the scientifically studied properties, which colours are best identified with in response to the second ambition. (shrink)

This paper studies dialogicity in posts and their comments. Focusing on political slogans in the Facebook page of Israel PM Binyamin Netanyahu, we examine the ways comments meta-represent the posts in various degrees of resemblance. Starting with the premise that comments/post interactions are dialogic in the Bakhtinian sense, we argue that comments are dialogic in yet another way, which is related to the form and degree of resemblance between them. The conceptualization draws on the notion of meta-representation (...) supplemented by insights gained from accommodation theory and Bakhtin’s dialogism. We argue that through resemblance, the propositional content, ideology and viewpoint conveyed by the initiating slogan are incorporated in the comment, and a tacit dialogue is constructed between them. An additional layer of polyphony is added to the multiplicity of ratified voices otherwise manifest in the interaction between separate posts and comments. (shrink)

The view developed in this book is that when looking at a representational painting we see a ‘real likeness’: something that is worked in paint, that really exists, that resembles what is depicted, and that, in virtue of that resemblance, counts as the same kind of thing as what is depicted. This Real Likeness view is applied not only to representation in painting, but also representation in photography and in novels. For each of these three art forms, (...) the Real Likeness view is presented as the best solution to a problem. A constraint on any plausible solution to that problem is ‘the Non Distraction Thesis’: (ND) Attending to the medium of a representational work cannot inevitably be a distraction from attending to its content, or vice versa. (p. 21) In this review, I present and discuss the problem, (ND) and the real likeness view in three consecutive sections. My focus will be Morris’s discussion of paintings, which constitutes the first part of the book and which is used when applying the view to photography and novels. Morris makes an interesting and significant contribution with his book, I think. However, to present his view as standing alone in opposition to the ‘dominant’ views of depiction, photography and literary fiction is, in my opinion, to exaggerate its novelty. The view has some (albeit perhaps not ‘dominant’) siblings in the literature on depiction and photography, notably Aasen (2015), Briscoe (2016), Martin (2012), Nanay (2016) and Wiesing (2009), who, like Morris, identify something which is seen in a picture or a photograph, is additional to it and what it represents and plays a vital representational role. Some issues in the philosophy of perception, attention and language, are also clearly relevant but not engaged with. While I mainly have to bypass these issues, towards the end of this review I will compare Morris’s view to its siblings in the depiction literature and try to identify something that I believe stands out about it. (shrink)

This chapter focuses on what’s novel in the perspective that the prediction error minimization (PEM) framework affords on the cognitive-scientific project of explaining intelligence by appeal to internal representations. It shows how truth-conditional and resemblance-based approaches to representation in generative models may be integrated. The PEM framework in cognitive science is an approach to cognition and perception centered on a simple idea: organisms represent the world by constantly predicting their own internal states. PEM theories often stress the hierarchical (...) structure of the generative models they posit. The novel explanatory power of the PEM account derives largely from the way in which pairs of generative and recognition models interact. “Predictive coding” refers to an encoding strategy in which predicted portions of an input signal are subtracted from the actual signal received, so that only the difference between the two is passed as output to the next stage of information processing. (shrink)

Resemblance Nominalism About Perfect Naturalness is the view that perfect naturalness of classes is best defined by a conceptual primitive of resemblance between particulars. The adequacy of RNPN is defended by outlining nominalism as the strictly anti-constitutive view that the particulars’ being the fundamental ways they are is not constituted by anything further, supplying a doubly plural contrastive and graded resemblance predicate that allows for a definition of perfect naturalness on an actualist basis, and proving a (...) class='Hi'>representation and a uniqueness theorem on the basis of a formal constraint on resemblance called “the Principle”, thereby revealing that bodies of nominalist resemblance facts are guaranteed to behave as if they were grounded in patterns of universals distributed over particulars. (shrink)

Locke asserts that “the Ideas of primary Qualities of Bodies, are Resemblances of them, and their Patterns do really exist in the Bodies themselves; But the Ideas, produced in us by these Secondary Qualities, have no resemblance of them at all.”1 On an unsophisticated way of taking his words, he means that ideas of primary qualities are like the qualities they represent and ideas of secondary qualities are unlike the qualities they represent.2 I will show that if we take (...) his assertions in this unsophisticated way, our reward will be a straightforward and satisfying interpretation of the central arguments of his chapter on primary and secondary qualities. With these arguments, Locke attempts to justify his assertions about resemblance. Some may be skeptical, thinking that the assertions, interpreted literally, are either too absurd or too obvious to have reasons supporting them. I take this skepticism to rest on deep foundations of charity, so half of the paper will be devoted to undermining these foundations by giving a sympathetic and historical exposition of Locke’s positive thesis that primary qualities resemble the ideas that represent them. I criticize rival interpretations of Lockean resemblance, say what it means to believe that ideas resemble qualities, explain the plausibility of the belief in Locke’s environment, and examine his descriptions of how ideas resemble particular primary qualities. Once I establish that we should take Locke’s resemblance theses literally, I can describe their place in his theory of representation. After that, I can describe his reasons for believing the resemblance theses. I will conclude by showing how Locke’s belief that ideas of secondary qualities do not resemble anything in bodies leads him to conclude that secondary qualities are merely powers to produce ideas. Let me begin near the end, however. Before defending a literal interpretation of the resemblance theses, I want to criticize three rival interpretations.. (shrink)

In this paper, we focus on Berkeley's reasons for accepting the ‘resemblance thesis’ which entails that for one thing to represent another those two things must resemble one another. The resemblance thesis is a crucial premise in Berkeley's argument from the ‘likeness principle’ in §8 of the Principles. Yet, like the ‘likeness principle’, the resemblance thesis remains unargued for and is never explicitly defended. This has led several commentators to provide explanations as to why Berkeley accepts the (...) resemblance thesis and why he also takes his opponents to do so too. We provide a contextual answer to this question, focusing on epistemological discussions concerning resemblance and representation in Early Modern Irish Philosophy. We argue that the resemblance thesis is implicit in early responses to William Molyneux's famous example of the ‘man born blind made to see’ and trace the ‘Molyneux man’ thought experiment as it is employed by Irish thinkers such as William King and Berkeley himself. Ultimately, we conclude that Berkeley's acceptance of the resemblance thesis can be explained by the Irish intellectual climate in which he was writing. (shrink)

Nelson Goodman argued convincingly that in order to understand the representation relation one should dissociate it from the relation of resemblance because of the logical differences between the two concepts. Resemblance is reflexive and symmetric whereas representation is not. Furthermore, Goodman suggested that what lies at the core of representation is denotation. According to Goodman, if X represents Y then X must denote Y, but he recognized that by opting for an analysis of representation (...) only based on this idea of denotation we run into problems. There are two reasons for this. The first reason is that X could be considered to be a representation of Y by mere stipulation. The second reason is that in many cases X represents Y but Y does not exist and thus there is nothing that X denotes. Both of these problems are important when addressing questions about scientific representation. First, we do not think that we do justice to scientific practices by thinking that scientific models represent by mere stipulation. Second, some of our scientific models represent what we often label ideal systems or ideal states of affairs, and if such systems do not exist in the actual world then it would also not make much sense to claim that our models denote such systems. I argue in this paper that there is a way to overcome these two problems and explicate “representation” by means of “denotation”. (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on (...) depiction, with special attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)

The introduction of the notion of family resemblance represented a major shift in Wittgenstein’s thoughts on the meaning of words, moving away from a belief that words were well defined, to a view that words denoted less well defined categories of meaning. This paper presents the use of the notion of family resemblance in the area of machine learning as an example of the benefits that can accrue from adopting the kind of paradigm shift taken by Wittgenstein. The (...) paper presents a model capable of learning exemplars using the principle of family resemblance and adopting Bayesian networks for a representation of exemplars. An empirical evaluation is presented on three data sets and shows promising results that suggest that previous assumptions about the way we categories need reopening. (shrink)

Plato’s most infamous discussions of poetry in the Republic, in which he both develops original distinctions in narratology and advocates some form of censorship, raises numerous philosophical and philological questions. Foremost among them, perhaps, is the puzzle of why he returns to poetry in Book X after having dealt with it thoroughly in Books II–III, particularly because his accounts of the “mimetic” aspect of poetry are, on their face, quite different. How are we to understand this double treatment? Here I (...) will focus on a single aspect of this question, the compatibility of the notion of μίμησις and its cognates in the two books. As Nickolas Pappas has said, “Whether Books 3 and 10 offer compatible accounts of mimêsis, and how one might make them compatible, remains the most controversial question about Plato’s aesthetics”.2 I will show that there is a single notion of μίμησις operative throughout, namely that of representation by resemblance. I will take an unusual tack. I will not begin with the most problematic part of Book III for this interpretation about poetic, linguistic μίμησις, but with the later sections on musical μίμησις. Once we have an account of this, I claim, it is easier to see how narrative μίμησις is also a kind of representation by resemblance. (shrink)

Pictorial representation is one of the core questions in aesthetics and philosophy of art. What is a picture? How do pictures represent things? This collection of specially commissioned chapters examines the influential thesis that the core of pictorial representation is not resemblance but 'seeing-in', in particular as found in the work of Richard Wollheim. We can see a passing cloud _as_ a rabbit, but we also see a rabbit _in_ the clouds. 'Seeing-in' is an imaginative act of (...) the kind employed by Leonardo’s pupils when he told them to see what they could - for example, battle scenes - in a wall of cracked plaster. This collection examines the idea of 'seeing-in' as it appears primarily in the work of Wollheim but also its origins in the work of Wittgenstein. An international roster of contributors examine topics such as the contrast between seeing-in and seeing-as; whether or in what sense Wollheim can be thought of as borrowing from Wittgenstein; the idea that all perception is conceptual or propositional; the metaphor of figure and ground and its relation to the notion of 'two-foldedness'; the importance in art of emotion and the imagination. Wollheim, Wittgenstein and Pictorial Representation: Seeing-as and Seeing-in is essential reading for students and scholars of aesthetics and philosophy of art, and also of interest to those in related subjects such as philosophy of mind and art theory. (shrink)

Neural structural representations are cerebral map- or model-like structures that structurally resemble what they represent. These representations are absolutely central to the “cognitive neuroscience revolution”, as they are the only type of representation compatible with the revolutionaries’ mechanistic commitments. Crucially, however, these very same commitments entail that structural representations can be observed in the swirl of neuronal activity. Here, I argue that no structural representations have been observed being present in our neuronal activity, no matter the spatiotemporal scale of (...) observation. My argument begins by introducing the “cognitive neuroscience revolution” (Sect. 1 ) and sketching a prominent, widely adopted account of structural representations (Sect. 2 ). Then, I will consult various reports that describe our neuronal activity at various spatiotemporal scales, arguing that none of them reports the presence of structural representations (Sect. 3 ). After having deflected certain intuitive objections to my analysis (Sect. 4 ), I will conclude that, in the absence of neural structural representations, representationalism and mechanism can’t go together, and so the “cognitive neuroscience revolution” is forced to abandon one of its commitments (Sect. 5 ). (shrink)

We think the best prospect for a naturalistic explanation of phenomenal consciousness is to be found at the confluence of two influential ideas about the mind. The first is the _computational _ _theory of mind_: the theory that treats human cognitive processes as disciplined operations over neurally realised representing vehicles.1 The second is the _representationalist theory of _ _consciousness_: the theory that takes the phenomenal character of conscious experiences (the “what-it-is-likeness”) to be constituted by their representational content.2 Together these two (...) theories suggest that phenomenal consciousness might be explicable in terms of the representational content of the neurally realised representing vehicles that are generated and manipulated in the course of cognition. The simplest and most elegant hypothesis that one might entertain in this regard is that conscious experiences are identical to (i.e., are one and the same as) the brain’s representing vehicles. (shrink)

Research on the semantics of spatial markers in French is known mainly through Vandeloise’s work on static prepositions. However, interest in the expression of space in French goes back to the mid-1970s and focused first on verbs denoting changes in space, whose syntactic properties were related to specific semantic distinctions, such as the opposition between “movement” and “displacement”. This volume provides an overview of recent studies on the semantics of dynamic space in Fr...

One kind of substantial critique which has been raised by several philosophers against the so called higher order perception theory , advocated for mainly by William Lycan, concerns the combination of two important claims: that qualia are wide contents of perceptual experiences, and that the subject becomes aware of what the world is like by perceiving her own experiences of the world. In what sense could we possibly watch our own mental states if they are representations whose content and qualitative (...) character is determined by factors that are external to the mind? And, furthermore, how can we become aware of what the world is like by means of this process? Fred Dretske says that all we could become aware of by this alleged activity are activities of the nervous system. But being aware of what e.g., a certain colour is like to us, does not seem to be the same as being aware of what a particular nervous activation pattern is like to us. Barry Maund points out that it is not ruled out that the representational vehicle and the representational object share some properties, nor that it is in virtue of having certain properties that a mental state has the content it does. If it were the case that the properties of the representational states showed some iconic resemblance relation to that which they represent, there could perhaps be some point in watching them. But again, we have little reason for thinking that this is the case. It seems improbable that an experience of red would be red, i.e., that the representational vehicle would have these properties. The important issue is: what features could the representational vehicle possibly have that would make it suitable as an object for inner sense and, in turn, would enable us to become aware of what it is like for us to perceive external objects by “looking” at the representation of these objects? I will explore these questions in this paper. (shrink)

We argue that one important aspect of the “cognitive neuroscience revolution” identified by Boone and Piccinini :1509–1534. doi: 10.1007/s11229-015-0783-4, 2015) is a dramatic shift away from thinking of cognitive representations as arbitrary symbols towards thinking of them as icons that replicate structural characteristics of their targets. We argue that this shift has been driven both “from below” and “from above”—that is, from a greater appreciation of what mechanistic explanation of information-processing systems involves, and from a greater appreciation of the problems (...) solved by bio-cognitive systems, chiefly regulation and prediction. We illustrate these arguments by reference to examples from cognitive neuroscience, principally representational similarity analysis and the emergence of dynamical models as a central postulate in neurocognitive research. (shrink)

The similarity view of scientific representation has recently been subjected to strong criticism. Much of this criticism has been directed against a ?naive? similarity account, which tries to explain representation solely in terms of similarity between scientific models and the world. This article examines the more sophisticated account offered by the similarity view's leading proponent, Ronald Giere. In contrast to the naive account, Giere's account appeals to the role played by the scientists using a scientific model. A similar (...) move is often made by defenders of resemblance theories of depiction, who invoke the role played by the artist, or by the viewers of a painting. In this article I look to debates over depiction to assess the difficulties facing those who wish to defend the similarity view of scientific representation. I then turn to examine Giere's account. Ultimately, I argue, this account is unsuccessful: while appealing to the role of scientists offers a promising way to defend the similarity view, Giere's own account does not capture what it is that scientists do when they use a model to represent the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 399-424 [Access article in PDF] Representation and the Body of Power in French Academic Painting Amy M. Schmitter [Figures] Reputation of power, is Power... Hobbes, Leviathan, Bk. I, ch. x Introduction It seems natural, even obvious, to distinguish between representations and what they are representations of. A picture of a dog is no more a dog than the word "dog" (...) is a furry, tail-wagging mammal. Nor are properties belonging to the object of a representation necessarily properties of the representation: a picture of a big dog need not be big, a picture of a dog that resembles Fido need not resemble Fido; even a picture of brown Fido need not be brown. And no number of pictures of Fido will sympathetically induce changes in Fido or any other dog. But however clear-cut this distinction may be when what is in question are pictorial references to ordinary, middle-sized material particulars such as dogs, it is much less clear in other cases. It is no violation of common-sense to consider "representations" of such things as gender norms or national identities or selves as non-neutral in the face of what they represent. The representations of gender norms, for example, can extend and enforce them, can change or undermine them, and may well lend a hand in constituting them in the first place.My theme here is a form of pictorial representation, one found in the theory and practice of that strain of French Academic painting under Louis XIV associated with Charles LeBrun. LeBrun held the titles of First Painter to the King and Director of the French Royal Academy of Painting, and the works I will examine were devoted to the royal power. That one effect of royal power is the ability to command resources and to cause the proliferation of representations, especially flattering representations, is no surprise. But I intend to suggest something stronger: not only did these Academic representations present an expenditure [End Page 399] of royal power, they were meant to embody and therefore extend royal power—even to constitute royal power. The view under examination does not simply collapse the common-sense distinction between signifying properties and what is signified; indeed those relations play an important role in one concept of representation modeled on language and written texts. But to this the academicians added another, more robust concept, one that does not distinguish clearly between the representation and its object.Implausible as this view may seem at first blush, I think it can prove genuinely explanatory: explanatory for thinking about pictorial representation, about how it can operate (on both its object and its viewer), and about its relation to power. But to see its explanatory value demands considering the nature and needs of state power. For unlike middle-sized material particulars, state power requires recognition to exist. Although that recognition need not be explicit, conscious, or voluntary, it must be widespread, and pictorial representations can be a powerful device for eliciting such recognition. Yet state power in general— or at least the particular form in question here—may demand that the constitutive role of recognition be disguised. Indeed many of the views and concepts of pictorial representation developed by the Academy reverse the dependence of power on recognition; they function in an ideology of representation. Nonetheless, I think that certain "formal," or structural, features of LeBrun's works can be explained in terms of how they elicit recognition and constitute this particular form of royal power. I make no claim that LeBrun's works must be explained so: for one, the royal power represented by LeBrun's works is long gone, and his representations do not now have any miraculous power to raise the dead. For any representations actually to operate as I suggest requires the support of a whole complex of institutions and activities committed to the care and feeding of state power. It is only because such a complex did exist that LeBrun's representations could have a recognizable object, i... (shrink)

According to the phenomenal intentionality research program, a state’s intentional content is fixed by its phenomenal character. Defenders of this view have little to say about just how this grounding is accomplished. I argue that without a robust account of representation, the research program promises too little. Unfortunately, most of the well-developed accounts of representation – asymmetric dependence, teleosemantics, and the like – ground representation in external relations such as causation. Such accounts are inconsistent with the core (...) of the phenomenal intentionality program. I argue that, however counter-intuitive it may seem, the best prospect for explaining how phenomenal character represents appeals to resemblance. (shrink)

In the first chapter of his The World, Descartes compares light to words and discusses signs and ideas. This made scholars read into that passage our views of language as a representational medium and consider it Descartes’ model for representation in perception. I show, by contrast, that Descartes does not ascribe there any representational role to language; that to be a sign is for him to have a kind of causal role; and that he is concerned there only with (...) the cause’s lack of resemblance to its effect, not with the representation’s lack of resemblance to what it represents. I support this interpretation by comparisons with other places in Descartes’ corpus and with earlier authors, Descartes’ likely sources. This interpretation may shed light both on Descartes’ understanding of the functioning of language and on the development of his theory of representation in perception. (shrink)

Perceptual experience seems to involve distinct intentional and qualitative features. Inasmuch as one can visually perceive that there is a Coke can in front of one, perceptual experience must be intentional. But such experiences seem to differ from paradigmatic intentional states in having introspectible qualitative character. Peacocke argues that a perceptual experience’s qualitative character is determined by intrinsic, nonrepresentational properties. But and also argues that perceptual experiences have nonconceptual representational content in addition to conceptual content and nonrepresentational sensational properties. He (...) thus distinguishes between conceptual, nonrepresentational, and nonconceptual but representational aspects of perceptual experience. I will argue that Peacocke posits too much. Contrary to his arguments, the sensational properties Peacocke claims are nonrepresentational are best construed as representational; they are best explained in terms of their relation to the perceptible properties they enable us to perceive. Since sensational properties are arguably nonconceptual, they are best construed as nonconceptual representational properties. I offer the Homomorphism View of sensory qualities, pioneered by Sellars , as a unified account of qualitative character and nonconceptual sensory representation. According to this view, a sensory quality represents a perceptible stimulus property in virtue of resembling and differing from other sensory qualities in ways parallel to the ways the stimulus property resembles and differs from other perceptible properties. (shrink)

[Richard Wollheim] Any experiential view of pictorial meaning will assign to each painting an appropriate experience through which its mean can be recovered. When the meaning is representational, what is the nature of the appropriate experience? If there is agreement that the experience is to be described as seeing-in, disagreement breaks out about how seeing-in is to be understood. This paper challenges two recent interpretations: one in terms of perceived resemblance, the other in terms of imagining seeing. Neither view (...) gives a correct account of how the spectator distributes his attention between the marked surface and the represented object. /// [Robert Hopkins] I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of (...) depiction, showing how it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. (shrink)

In a recent paper, Karl Schafer argues that Hume's theory of mental representation has two distinct components, unified by their shared feature of having accuracy conditions. As Schafer sees it, simple and complex ideas represent the intrinsic imagistic features of their objects whereas abstract ideas represent the relations or structures in which multiple objects stand. This distinction, however, is untenable for at least two related reasons. Firstly, complex ideas represent the relations or structures in which the impressions that are (...) the objects of their simple components stand. Secondly, abstract ideas are themselves instances of complex ideas. I draw two important conclusions from these facts. Firstly, contra Schafer and Garrett, the Copy Principle, properly emended, constitutes the entirety of Hume's theory of mental representation. Secondly, whereas paradigm examples of complex ideas, e.g. ideas of spatial and temporal complexes, are structured by relations of contiguity, abstract ideas are those complex ideas instead structured by relations of resemblance. As such, they represent their objects not as spatially or temporally contiguous but rather as resembling. (shrink)

While Descartes's status as a "representationalist" is often a subject of vehement debate, what exactly he means by "representation" is not. I look to Descartes's early work to show that he first conceives of representation through signification, in which the sign and the signified are isomorphic; on this view, relations of representation can be arbitrary and are to be distinguished from relations of resemblance. I then examine images to show the possibility of an image constructing a (...) relation to its viewer, or "subject-position," in which that subject-position fails to display the attributes of extended things. Such a construction might be applied to the "I" of the Meditations--distinct from all extended substances, it nonetheless has direct access to them through its non-objectified sense-ideas. On this basis, I propose a "model" of representation for ideas: an idea represents its object O to a subject-position S through a vehicle of representation X under some relation R. I argue that this model can explain the uses Descartes makes of "represent," particularly for ideas. But it must be understood properly: Descartes comes to conceive of the vehicle of representation simply as the form taken by the direct interaction of the mind and the things objectively present to it--but a form that can take on a life of its own, giving rise to the possibilities of clarity and distinctness or of confusion in ideas. But what is truly novel about Descartes's conception is the mind's ability to form higher-order representations that represent the conditions of representation itself, thereby achieving certainty for some mental representations without starting from any incorrigible, immediate perceptions. This possibility is realized most clearly in the understanding of my nature as a thinking and representing being, where I can represent myself as the subject-position distinct from all extended things, but also can represent myself as joyfully and representatively united with a body all my own. (shrink)

Commentators have argued that along with adopting a mechanical view of nature, Descartes developed two innovative views concerning sensation: sensation occurs without the involvement of an entity resembling the sensation, and sensations represent features of objects but without resembling them. When Descartes is interpreted as making both of these claims, it appears that in removing resemblance from the causal process of sensation, Descartes preserves the notion that sensations represent features of objects and that he does this by introducing a (...) new conception of representation — one not requiring resemblance.It is important to recognize that the two claims are distinct. The first claim, that the physical process of sensation does not involve something resembling the qualitative content of the sensation, does not in and of itself entail anything about the representational nature of the sensation. Or rather, what it does entail is that if sensations do represent their causes in objects, then it cannot be by presenting those causes to the mind as they exist in objects. (shrink)

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of (...) depiction, showing how it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. Philosophers, psychologists and art theorists will find this a sophisticated and stimulating treatment of one of the central topics in aesthetics. (shrink)

How can a Cartesian idea represent ordinary physical objects? One possibility is that Descartes holds a theory of natural signs according to which ideas, including sensations, represent states of the external world that are correlated with them. I deny that Descartes has a theory of natural signs in this sense, arguing, instead, that our perception of ordinary physical objects is achieved not through ideas, properly speaking, but through a special act of the mind which projects its sensations onto objects in (...) the external world, objects truly represented by ideas of primary qualities alone. This ”projection” comprises referral judgments that account for the characteristic phenomenology of experience of the physical world but in a way that misleads us to think that our ideas bear a resemblance to the underlying metaphysical reality of the physical world. Other issues discussed include Descartes's taxonomy of ideas. (shrink)

I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to (...) Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

Recent discussions of the nature of representation in science have tended to import pre-established decompositions from analyses of representation in the arts, language, cognition and so forth. Which of these analyses one favours will depend on how one conceives of theories in the first place. If one thinks of them in terms of an axiomatised set of logico-linguistic statements, then one might be naturally drawn to accounts of linguistic representation in which notions of denotation, for example, feature (...) prominently. If, on the other hand, one conceives of theories in non-linguistic terms, as in the model-theoretic approach, then one might look to analyses of representation in the arts where notions of resemblance tend to be brought to the fore. Thus van Fraassen, for example, has imported such an analysis into his discussion of representation in science and argued that an appropriate account of resemblance can be given in terms of the set-theoretic relation of isomorphism. This has been strongly criticised by Suarez, who argues that just as isomorphism cannot capture representation in art, so it is inappropriate in the scientific context as well. Similarly Hughes draws on Goodman`s rejection of resemblance in art in favour of denotation and, rather confusingly perhaps, favours the latter whilst also maintaining the model-theoretic view of theories. In this paper, I shall examine the debate in terms of four claims: 1. Isomorphism is not sufficient for representation; 2. Isomorphism is not necessary for representation; 3. Models represent but theories do not; 4. Models denote and do not resemble. Each of these claims will be questioned and I will conclude by suggesting that, through appropriate modifications, a form of isomorphism can serve to underpin representation in both the arts and science. (shrink)

The concept of representation is a problematic one. So is that of resemblance or similarity. But both concepts can be clarified via a modification of Wittgenstein's notion of a "family-resemblance." I shall introduce an extended version of that notion, specifically relevant to representational objects, after presenting some arguments which show the need for it.

I defend a theory of mental representation that satisfies naturalistic constraints. Briefly, we begin by distinguishing (i) what makes something a representation from (ii) given that a thing is a representation, what determines what it represents. Representations are states of biological organisms, so we should expect a unified theoretical framework for explaining both what it is to be a representation as well as what it is to be a heart or a kidney. I follow Millikan in (...) explaining (i) in terms of teleofunction, explicated in terms of natural selection. -/- To explain (ii), we begin by recognizing that representational states do not have content, that is, they are neither true nor false except insofar as they both “point to” or “refer” to something, as well as “say” something regarding whatever it is they are about. To distinguish veridical from false representations, there must be a way for these separate aspects to come apart; hence, we explain (ii) by providing independent theories of what I call f-reference and f-predication (the ‘f’ simply connotes ‘fundamental’, to distinguish these things from their natural language counterparts). -/- Causal theories of representation typically founder on error, or on what Fodor has called the disjunction problem. Resemblance or isomorphism theories typically founder on what I’ve called the non-uniqueness problem, which is that isomorphisms and resemblance are practically unconstrained and so representational content cannot be uniquely determined. These traditional problems provide the motivation for my theory, the structural preservation theory, as follows. F-reference, like reference, is a specific, asymmetric relation, as is causation. F-predication, like predication, is a non-specific relation, as predicates typically apply to many things, just as many relational systems can be isomorphic to any given relational system. Putting these observations together, a promising strategy is to explain f-reference via causal history and f-predication via something like isomorphism between relational systems. -/- This dissertation should be conceptualized as having three parts. After motivating and characterizing the problem in chapter 1, the first part is the negative project, where I review and critique Dretske’s, Fodor’s, and Millikan’s theories in chapters 2-4. Second, I construct my theory about the nature of representation in chapter 5 and defend it from objections in chapter 6. In chapters 7-8, which constitute the third and final part, I address the question of how representation is implemented in biological systems. In chapter 7 I argue that single-cell intracortical recordings taken from awake Macaque monkeys performing a cognitive task provide empirical evidence for structural preservation theory, and in chapter 8 I use the empirical results to illustrate, clarify, and refine the theory. (shrink)

Objective Semiotica is published in six annual issues, in two languages (English and French). From time to time, Special Issues, devoted to topics of particular interest, are assembled by Guest Editors. The publishers of Semiotica offer an annual prize, the Mouton d'Or, to the author of the best article each year. The article is selected by an independent international jury. Topics We welcome papers reporting results of research in all branches of semiotic studies. Article formats Research articles, in-depth reviews, guest (...) editorials, reports Mouton D’Or Winner 2022 "Semiotricité et corps en jeu", Parlebas, Pierre, 248, 9-35. The judges commented: "The Committee members made this decision based on many appreciations. First, the article contains a concise theory on semiotics of movement, synthesizing decades of research of the author. It opens an exciting framework for the contribution of many other authors. The theoretical grounds of semiotircity are built on the most classical semiotic approaches and represent a genuine development. Second, the article refreshes semiotics methodology in very original way, by engaging the applied semiotics for furtive and instantaneous activities analysis. Third, the article is pretty clear and well structured, written in very comprehensible French. The theoretical frame it opens is thorough and far reaching. Fourth, the semiotic theory of movement comes in a very special moment when the whole world is football, but it covers also many other areas of applicability which reflect major trends such as the general gamification of life thanks to new media and digital technologies. It is crucial for semiotic theory to open its theoretic scope towards significant cultural trends and become more attractive for young researchers." Les membres du comité ont pris leur décision en fondant leur appréciation sur quatre éléments principaux. Premier élément : l'article, en peu de mots, en prenant appui sur des décennies de recherche de la part de l'auteur, déploie de manière précise les termes d'une sémiotique du mouvement. Les fondements théoriques de la sémiotricité sont construits sur des approches sémiotiques bien établies et représentent un véritable développement dans le domaine. En cela, le texte ouvre un cadre passionnant pour les contributions de nombreux autres chercheurs. Deuxièmement, l'article renouvelle la sémiotique appliquée de manière très originale, l'engageant dans une approche efficace des actions instantanées et furtives; la méthodologie sémiotique en général en tire donc aussi profit. Troisième point, en plus d'être profond, avec un cadre théorique d'ampleur et de grande portée, l'article est particulièrement bien structuré et écrit dans un français très compréhensible, ce qui est un véritable gain pour sa diffusion. Enfin, quatrièmement, s'il est indéniable que le texte pourrait bénéficier d'une visibilité complémentaire due à la ferveur liée au contexte récent de la coupe du monde de football au Qatar, il couvre surtout de nombreux autres domaines d'applicabilité qui reflètent des tendances majeures telles que la gamification générale de la vie, portée par les nouveaux médias et les technologies numériques. L'on y voit une belle opportunité pour la théorie sémiotique d'ouvrir son champ à la faveur de tendances culturelles significatives; ceci est une garantie pour continuer à attirer de nouvelles générations de chercheurs. (shrink)

This dissertation defends the place of representation in music. Music’s status as a representational art has been hotly debated since the War of the Romantics, which pitted the Weimar progressives (Liszt, Wagner, &co.) against the Leipzig conservatives (the Schumanns, Brahms, &co.) in an intellectual struggle for what each side took to be the very future of music as an art. I side with the progressives, and argue that music can be and often is a representational medium. Correspondence (or (...) class='Hi'>resemblance) theories of representation, such as the one I offer, have been much maligned in philosophy since the 1960s. Most theories assimilate representation under “meaning,” which has usually been thought to belong primarily to language. As a result, representational content has been taken to be purely conventional in the way that sentential meaning is. People want to know what music “means,” and these theories interpret this as “what does it refer to?” or “what propositions does it express?” I argue that propositional communication is only one (small) part of the issue. Once we overcome the bias of conceiving of musical works as essentially linguistic items, speech acts (performed) or sentence tokens (written), we can begin to take music on its own terms to discover how it represents—one way in which it “means.” The first step is to “naturalize” music’s representational content. Influenced by recent discussions in the philosophies of mind and science, I argue in Chapter 1 that composers represent extra-musical objects, events, and states of affairs through their works by exploiting antecedent relations (such as similarities in pitch, timbre, and structure) in order to secure reference to them. In Chapter 2, I survey and respond to the main challenges that those skeptical of music’s representational possibilities would raise against my theory of musical representation. In Chapter 3, I explore a number of ways through which music has been claimed to represent in order to show how my theory accounts for these diverse phenomena better than its conventionalist rivals, both in terms of the metaphysics and the epistemology. Chapter 4 extends this discussion by offering an account of how we perceive, understand, appreciate, and interpret sophisticated musical representations. I conclude by teasing out some of my theory’s implications and suggesting areas for further research. (shrink)

In this paper, I present the beginnings of a resemblance theory of representation. I start by surveying the contemporary philosophical debate surrounding musical representation and reveal that its main interlocutors share a conception of artistic representation as a mode of meaningful communication. I then show how conceiving of artistic representation in this way severely limits music’s possibilities as a medium for representation. Next, I propose an alternative conception of representation that, despite its widespread (...) acceptance outside of the philosophy of art, has been largely denigrated within it: namely, that representation fundamentally depends on structural resemblance. Finally, I demonstrate how conceiving of artistic representation as grounded upon structural resemblances, rather than as a mode of meaningful communication, provides us with a more accurate picture of both (a) how music represents and (b) how we perceive and appreciate musical representations. (shrink)