Modal realism -- Time, space, world -- Existence -- Actuality -- Modal realism and modal tense -- Transworld individuals and their identity -- Existensionalism -- Impossibility -- Proposition and relief -- Fictional worlds -- Epistemology.

The paper attempts to construct a global model of a social contract using well-known metaphors of two great philosophers: Jean-Jacques Rousseau and John Locke. By modelling a global social contract, I mean the formulation of a social contract using two sets of data: one is global citizens' preferences about values and norms while the other is sovereign states' participation in multilateral treaties. Both Rousseau and Locke formulate their versions of social contract theories in the national context of eighteenth-century Europe. This (...) paper tries my hands on extending their theories to the global context. This paper attempts to link empirically the relationship between global citizens' preferences as gauged by the World Values Survey and sovereign states' participation in 120 multilateral treaties deposited to the United Nations. To see the link between citizens and treaties (quasi-legislative outcomes, sort of), dimensional similarities of the cosmos of citizens' preference and the cosmos of sovereign states' willingness to join multilateral treaties are examined. Once done, all the sovereign states are located in each of the two cosmoses, citizens and states, and the correlation coefficients between them are measured. Based on these empirical results, the nature of the global quasi-legislative process is clarified. Conclusions and implications are drawn. (shrink)

ABSTRACTAnother individual’s gaze automatically shifts an observer’s attention to a location. This reflexive response occurs even when the gaze is presented subliminally over a short period. Another’s gaze also increases the preference level for items in the gaze direction; however, it was previously unclear if this effect occurs when the gaze is presented subliminally. This study showed that the preference levels for nonsense figures looked at by a subliminal gaze were significantly greater than those for items that were subliminally looked (...) away from. Targets that were looked at by a subliminal gaze were detected faster ; however, the participants were unable to detect the gaze direction. These results indicate that another individual’s gaze automatically increases the preference levels for items in the gaze direction without conscious awareness. (shrink)

Call a sentential context semantically transparent if and only if all synonymous expressions are substitutable for one another in it salva veritate. Nathan Salmon has boldly advanced a refreshingly crisp semantic theory according to which belief contexts are semantically transparent. If he is right, belief contexts are much better behaved than widely suspected. Impressive as it is, this author does not believe that Salmon’s theory is completely satisfactory. This article tries to show that Salmon’s theory, in conjunction with a number (...) of auxiliary but important claims he makes to buttress the theory, seems to lead to failure of semantic transparency of belief contexts. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

「意識のクオリア」も五感も、すべては錯覚だった。「心は脳が作り上げた幻想である」ことを述べた著者が、自己意識や五感が錯覚であることに的を絞って説明。.

Meaning Solipsism says that it is possible for there to be a meaningful state without any other meaningful state. The meaning of such a solo meaningful state should be non-natural. The best strategy for establishing Meaning Solipsism is to argue for the determination of the meaning of a possible solo meaningful state via the set of entities the meaning of the state fits. Embracing merely possible and impossible entities is the most straightforward way to do so. Also, a good way (...) to honor analayticities the meaning of a solo meaningful state gives rise to is to insist on certain facts about impossible entities as non-negotiable brute facts. (shrink)

Mark Jago’s four arguments against Takashi Yagisawa’s extended modal realism are examined and shown to be ineffective. Yagisawa’s device of modal tense renders three of Jago’s arguments harmless, and the correct understanding of predications of modal properties of world stages blocks the fourth one.

Sherlock Holmes is a fictional individual. So is his favorite pipe. Our pre-theoretical intuition says that neither of them is real. It says that neither of them really, or actually, exists. It also says that there is a sense in which they do exist, namely, a sense in which they exist “in the world of” the Sherlock Holmes stories. Our pre-theoretical intuition says in general of any fictional individual that it does not actually exist but exists “in the world of” (...) the relevant fiction. I wish to defend this pretheoretical intuition. To do so, I need to defend two claims: that fictional individuals do not actually exist, and that they exist “in the world of” the relevant fiction. The aim of this paper is to defend the first claim. (shrink)

We explore the understanding of conscious states in terms of spatio-temporal dynamics through modelling a mobile agent. Conscious states are associated with an agent's spontaneous and deterministic fluctuation between attachment to and detachment from the surroundings. It is because of this fluctuating nature, we argue, that an agent can perceive structure in the world. Perception requires a conscious state in physical devices. This is a central concern of this paper, and we examine it by simulating a mobile agent equipped with (...) an interconnected Fitz-Hugh-Nagumo (FHN) neuron network with delayed signal transmissions. The agent can move around a space by sensing the environment pattern through the input neurons and computing the motor outputs via the FHN network. The agent shows a variety of motion styles and a spontaneous selection of motion styles responding to the surroundings. Such a phenomenon is named embodied chaotic itinerancy (ECI), as an extension of chaotic itinerant dynamics, which is known to be a typical dynamic with a high degree of freedom. We take this selective mode of response to be significant, particularly those interacting with spatial pattern, as an inevitable property of conscious states. (shrink)

This paper describes a decision model for an autonomous agent that provides an inhabitant with comfort based on information network technologies that connect home electric appliances with household equipment. The inhabitant enjoys the benefit of comfort, while he pays the cost for keeping that comfort. The autonomous agent should decide and control household equipment considering that cost from the inhabitant’s viewpoint. Thus, we utilized a representation scheme called an “influence diagram” that enabled us to model the decision-making process of the (...) agent from the inhabitant’s point of view. First, decision modeling using the influence diagram is presented via an example. The presented model consists of three information-processing modules: a module for estimating the situation of an inhabitant based on information from home networks, a module for evaluating comfort of the inhabitant, and a module for making decisions that maximize the utility of the inhabitant from both the viewpoints of comfort and the cost paid for that comfort. Next, an experiment for verifying whether the presented model is effective or not, and its results are described. Finally, our model of the agent is discussed in relation to social intelligence design by investigating the interactive processes between the agent and the inhabitant. (shrink)

The paper explores the logical strength of Isbell's zig‐zag theorem using the framework of reverse mathematics. Working in, we show that is equivalent to Isbell's zig‐zag theorem for countable monoids: If B is a monoid extension of A, then is dominated by A if and only if b has a zig‐zag over A. Our proof of Isbell's zig‐zag theorem avoids use of strong comprehension axioms common in traditional proofs. We also analyze the strength of theorems concerning binary relations.

Affective computing research has advanced emotion recognition systems using facial expressions, voices, gaits, and physiological signals, yet these methods are often impractical. This study integrates mouse cursor motion analysis into affective computing and investigates the idea that movements of the computer cursor can provide information about emotion of the computer user. We extracted 16–26 trajectory features during a choice-reaching task and examined the link between emotion and cursor motions. Participants were induced for positive or negative emotions by music, film clips, (...) or emotional pictures, and they indicated their emotions with questionnaires. Our 10-fold cross-validation analysis shows that statistical models formed from “known” participants could predict nearly 10%–20% of the variance of positive affect and attentiveness ratings of “unknown” participants, suggesting that cursor movement patterns such as the area under curve and direction change help infer emotions of computer users. (shrink)

Let us call a sentential context semantically transparent if and only if all synonymous expressions are substitutable for one another in it salva veritate. A sentential context is semantically opaque if and only if it is not semantically transparent. Nathan Salmon has boldly advanced a refreshingly crisp theory according to which belief contexts are semantically transparent.1 If he is right, belief contexts are much better behaved than widely suspected.2 Impressive as it is, I do not believe that Salmon's theory is (...) completely satisfactory. I shall not try to refute his theory, however. My aim is more modest. It is to show that his theory, in conjunction with a number of auxiliary but important claims he makes to buttress the theory, seems to lead to semantic opacity of belief contexts. (shrink)

I propose and defend a surprisingly simple yet useful analysis of existence according to which existence is a relation between a thing and a set: a thing x bears the relation of existence to a set S if and only if x is a member of S . This simple set-theoretic analysis of existence demystifies existence and is powerful and flexible enough to serve important theoretical purposes.

Deep theorizing about possibility requires theorizing about possible objects. One popular approach regards the notion of a possible object as intertwined with the notion of a possible world. There are two widely discussed types of theory concerning the nature of possible worlds: actualist representationism and possibilist realism. They support two opposing views about possible objects. Examination of the ways in which they do so reveals difficulties on both sides. There is another popular approach, which has been influenced by the philosophy (...) of Alexius Meinong. The Meinongian approach is relevant to theorizing about possible objects because it attempts to construct a general theory of objects other than ordinary concrete existing objects. Independently of the debate about the nature of possible worlds or about Meinongianism, it is not always as straightforward as it may at first appear to determine whether putative possible objects are indeed possible. Another category of object similar to that of a possible object is the category of a fictional object. Although initially attractive, the idea that fictional objects are possible objects should not be accepted blindly. An important instance of theoretical usefulness of possible objects is their central role in the validation of two controversial theorems of a simple quantified modal logic. (shrink)