Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two (...) concepts: the simultaneous visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

This paper analyzes Kendall Walton's theory of depiction and, more specifically, his notion of twofoldness. I argue that (1) Walton’s notion of twofoldness is, in spite of what Walton claims, very different from Richard Wollheim’s and (2) Walton’s notion of twofoldness is inconsistent with the rest of his theory of depiction.

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient aspects (...) of our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

Proposition I.1 is, by far, the most popular example used to justify the thesis that many of Euclid’s geometric arguments are diagram-based. Many scholars have recently articulated this thesis in different ways and argued for it. My purpose is to reformulate it in a quite general way, by describing what I take to be the twofold role that diagrams play in Euclid’s plane geometry (EPG). Euclid’s arguments are object-dependent. They are about geometric objects. Hence, they cannot be diagram-based unless diagrams (...) are supposed to have an appropriate relation with these objects. I take this relation to be a quite peculiar sort of representation. Its peculiarity depends on the two following claims that I shall argue for: ( i ) The identity conditions of EPG objects are provided by the identity conditions of the diagrams that represent them; ( ii ) EPG objects inherit some properties and relations from these diagrams. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

Observables have a dual nature in both classical and quantum kinematics: they are at the same time quantities, allowing to separate states by means of their numerical values, and generators of transformations, establishing relations between different states. In this work, we show how this twofold role of observables constitutes a key feature in the conceptual analysis of classical and quantum kinematics, shedding a new light on the distinguishing feature of the quantum at the kinematical level. We first take a look (...) at the algebraic description of both classical and quantum observables in terms of Jordan–Lie algebras and show how the two algebraic structures are the precise mathematical manifestation of the twofold role of observables. Then, we turn to the geometric reformulation of quantum kinematics in terms of Kähler manifolds. A key achievement of this reformulation is to show that the twofold role of observables is the constitutive ingredient defining what an observable is. Moreover, it points to the fact that, from the restricted point of view of the transformational role of observables, classical and quantum kinematics behave in exactly the same way. Finally, we present Landsman’s general framework of Poisson spaces with transition probability, which highlights with unmatched clarity that the crucial difference between the two kinematics lies in the way the two roles of observables are related to each other. (shrink)

Observables have a dual nature in both classical and quantum kinematics: they are at the same time quantities, allowing to separate states by means of their numerical values, and generators of transformations, establishing relations between different states. In this work, we show how this twofold role of observables constitutes a key feature in the conceptual analysis of classical and quantum kinematics, shedding a new light on the distinguishing feature of the quantum at the kinematical level. We first take a look (...) at the algebraic description of both classical and quantum observables in terms of Jordan–Lie algebras and show how the two algebraic structures are the precise mathematical manifestation of the twofold role of observables. Then, we turn to the geometric reformulation of quantum kinematics in terms of Kähler manifolds. A key achievement of this reformulation is to show that the twofold role of observables is the constitutive ingredient defining what an observable is. Moreover, it points to the fact that, from the restricted point of view of the transformational role of observables, classical and quantum kinematics behave in exactly the same way. Finally, we present Landsman’s general framework of Poisson spaces with transition probability, which highlights with unmatched clarity that the crucial difference between the two kinematics lies in the way the two roles of observables are related to each other. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity -- its vehicle, what is seen in it, and its subject --, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to (...) be pictorially perceived, not even indirectly. So, even if a picture is three-layered, pictorial experience remains a twofold experience, as Wollheim claimed. Neither the proponents of threefoldness nor Wollheim himself, however, have convincingly explained how the experience really is a perceptual experience. My Wollheimian account thus aims to reconceive the pictorial experience in properly perceptual terms. (shrink)

The Radical Enactive/embodied view of Cognition, or REC, claims that all cognition is a matter of skilled performance. Yet REC also makes a distinction between basic and content-involving cognition, arguing that the development of basic to content-involving cognition involves a kink. It might seem that this distinction leads to problematic gaps in REC’s story. We address two such alleged gaps in this paper. First, we identify and reply to the concern that REC leads to an “interface problem”, according to which (...) REC has to account for the interaction of two minds co-present in the same cognitive activity. We emphasise how REC’s view of content-involving cognition in terms of activities that require particular sociocultural practices can resolve these interface concerns. The second potential problematic gap is that REC creates an unjustified difference in kind between animal and human cognition. In response, we clarify and further explicate REC’s notion of content, and argue that this notion allows REC to justifiably mark the distinction between basic and content-involving cognition as a difference in kind. We conclude by pointing out in what sense basic and content-involving cognitive activities are the same, yet different. They are the same because they are all forms of skilled performance, yet different as some forms of skilled performance are genuinely different from other forms. (shrink)

Truth about matters of fact is objective. This is not just because truth is objective. It is also because facts are objective. An objective fact makes an assertion of that fact true. The objectivity of the fact adds a further element of objectivity to the objective truth of the assertion. True assertions of fact are true because truth is objective and because the facts that make them true are objective. True assertions of fact are objective twice over. Their objectivity is (...) twofold. Or, at least, that is the point I seek to establish here. (shrink)

The ontological abyss that separates real objects from sensual objects is one of the central principles of Object-Oriented Ontology (OOO), which has its most explicit and profuse modulation in Timothy Morton’s notion of rift. This article argues that, despite succeeding in explaining the radical difference that inhabits every object, Morton’s rift fails to explain the object’s unification, rendering the overall theory inconsistent. An alternative approach that accounts simultaneously for disjunction and conjunction between essences and appearances can be found in Eugenio (...) Trías’s philosophy of the limit, a term widely ignored in OOO despite its deeply non-relational conception of the reality of things. The article further argues that the reinterpretation of Trías’s twofold liminal approach in light of OOO successfully addresses the inconsistencies found in Morton’s rift, paving the way for a theory of limits within Harman’s ontological framework. (shrink)

This article draws on Husserl’s manuscripts from the 1920s and 1930s (especially on the as-yet unpublished D-manuscripts), arguing that each concrete experience is governed by an irreducible tension between two intersecting normative dimensions: primordial and intersubjective. Husserl’s ideas of normality and normativity have gained a lot of attention in recent years, but the normative aspects of primordial constitution have not been properly taken into account. By arguing for the “normative tension” between the primordial and the intersubjective, this article contributes to (...) filling in this lack. By doing so, it sheds new light on the debate concerning the relationship between genetic and generative phenomenology, challenging interpretations that exclusively render either the genetic-primordial or the generative-intersubjective as the constitutive absolute. (shrink)

This paper examines a twofold tension in Gerhard Schurz’s (2019) recent proposal to solve Hume’s problem of induction. Schurz concedes to the skeptic that there is no non-circular epistemic justification of the reliability of induction, but then argues for the optimality of meta-induction so that if any prediction method is reliable, then meta-induction is. There is a tension in this proposal between meta-induction and our inductive practice: Are we supposed to abandon our inductive practice in favor of meta-induction? Schurz claims (...) that given the actual way the world has been, the meta-inductive method supports the standard inductive method. There then arises a second tension: The challenges Schurz cites against the reliability of induction—such as the anti-inductive hypothesis and the state-uniform probability distribution—cast doubt on Schurz’s claim that meta-induction supports induction. The reasoning in this paper moves in the opposite direction: There are ways of answering these challenges in defense of Schurz’s claim that meta-induction supports induction, but these ways also point to ways of defending induction directly without the mediation of meta-induction. (shrink)

In this paper I argue that Aquinas’s doctrine of analogy must be understood against the background of his overall philosophy of being. I suggest that Thomas’s oscillation between an analogy of attribution and proper proportionality should be understood as an attempt to address analogy from two different, albeit complementary, metaphysical perspectives. If created being is, as Thomas maintains, a composition of essence and existential act, then it would seem that the analogy of being would bear out the implications of the (...) composite character of being. Thus, if Thomas’s analogy sometimes focuses on formal causality and at other times upon the communication of act via efficient causality, it is not because he adopts a new doctrine of being that supplants his earlier teaching but because of the twofold character of created being. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 107 Heft: 1 Seiten: 34-63.

In recent years, the notion of wilderness has been roundly criticized by several prominent environmental philosophers and historians. They argue that the “received wilderness idea” is dualistic, ethnocentric, and static. According to these critics, this idea of wilderness finds clear expression in the Wilderness Act of 1964. However, the idea of wilderness so ably deconstructed by its critics bears little resemblance to the understanding of wilderness presented in the Wilderness Act. The critics assume a backward-looking, purity-based definition of wilderness that (...) runs counter to the forward-looking, relativistic interpretation of the Wilderness Act that has guided and informed subsequent wilderness legislation, management, and visitation. Under the Wilderness Act, wilderness designation is less a matter of preserving remnants of “pristine” nature than establishing a covenant between humans and a particular place. Wilderness areas, so conceived, serve as potential sabbath places, whose ultimate significance is best understood in terms of their mutually informing relationship to the places where we live and work. Rather than detracting from our efforts to inhabit the Earth in more creative and sustainable ways, wilderness represents a vital part of larger landscapes of human inhabitation characterized by a diverse mixture of human-nature relational patterns. (shrink)

I argue that perceptual content involves representations both of aspects of objects, and of objects themselves, whether at the level of conscious perception, or of low-level perceptual processing - a double content structure. I present an 'orientational' theory of the relations of the two kinds of perceptual content, which can accommodate both the general semantic possibility of perceptual misrepresentation, and also species of it involving characteristic perceptual confusions of aspectual and intrinsic content. The resulting theoretical structure is argued to be (...) a broadly methodological or logical one, rather than a substantive theory that is open to empirical refutation. (shrink)

This paper examines Plato’s views about the unity of argument and drama, and asks why Plato never made his views on this unity fully explicit. Taking the Gorgias as a case study it is argued that unity rests on the conception of refutative dialectic as justice and on the principle of self-consistency of thought and desire. As compared to the treatise, the dialogue form has the advantage of being able to defend these substantive views in action and thus to demonstrate (...) the performative contradictions in the ideas of one’s opponents. (shrink)

This paper examines Plato’s views about the unity of argument and drama, and asks why Plato never made his views on this unity fully explicit. Taking the Gorgias as a case study it is argued that unity rests on the conception of refutative dialectic as justice and on the principle of self-consistency of thought and desire. As compared to the treatise, the dialogue form has the advantage of being able to defend these substantive views in action and thus to demonstrate (...) the performative contradictions in the ideas of one’s opponents. (shrink)

Love is practical, having to do with how we live our lives, and a central aspect of its practical orientation is the wish for union. Union is often considered in two forms—as a union of affections and as union in relationship. This paper considers both sorts of union and argues for their connection. I first discuss the union of interests in terms of the idea of attentive awareness that is focused upon the beloved individual and his or her concerns, life, (...) and history. I then discuss union in relationship and show how this emerges from the attentive awareness in a desire to specify a determinate way of responding to the concerns that attentive awareness opens us to. I use the example of Jane Austen’s Emma throughout; the conduct of Austen’s heroine, who fails badly at loving well, shows by means of anti-example what is at stake in pursuing union as well as illustrating the close connection between the two aspects of union. (shrink)

The starting point of this paper is an apparent contradiction, often pointed out by commentators of the Poetics. In his treatise on poetry, whose object is human action, why does Aristotle assign a major role to necessity, while in the Rhetoric and the Nicomachean Ethics he clearly states that in the field of human action there is no place for necessity but only for probability? One answer has been, that in the Poetics Aristotle refers to a weaker type of necessity, (...) which in the end is more or less the same as probability. The fact that Aristotle (the argument continues) speaks almost always not only of necessity but also of probability, is proof of this weakening of necessity. I argue, on the contrary, that in the Poetics necessity and probability are two distinct principles, which concern different aspects of the tragedy (i. e. the most accomplished poetical work according to Aristotle), and which therefore should not be blurred. The first step is to make clear that the alleged contradiction is only apparent. It is in fact true that in the world of action, according to Aristotle, there can be no necessity, but action is only the object of poetry and not poetry itself. Poetry as such is a technique, which differs from other techniques (like medicine) on account of its ends, and, consequently, also on account of its object. In the world of technique, as is clearly stated both in the Methaphysics and in the Posterior Analytics, there is necessity, in the sense that to reach this or that end you have – necessarily – to do this or that. But then – this is the second step – what is the relation between technical necessity and the principle of probability? Evidently probability concerns the world of action, the object of poetry. This brings me to the following conclusion: When Aristotle tells us that the aim of the poet is to say what is possible according to probability and necessity, he means that the poet should take probable actions as objects and use them as necessary means to reach a particular end. This end, in the case of tragedy, is the tragic plot. The two principles are then strictly connected (every moment of the tragedy has to be looked at from one side and the other), but nonetheless distinct. (shrink)

In this paper I hope to answer the questions "How do we make something an intentional object?" and "What kinds of things can be intentional objects?" My response will be a direct reference theory following Chisholm. Such a theory has as a consequence, I will argue, different types of indeterminacy in our attitudes. This is due to Chisholm's concept of conceptual entailment. I hold that if the self-ascribed attribute conceptually entails another which gives a different intentional object, then the attitude (...) is indeterminate as to which is the actual object or objects, although all such objects are 'purported' to be such. (shrink)

In appreciating paintings, what we experience is either a result of their medium or object, regardless of whether the object is an actual thing, a fictional thing, an internal emotion, an abstract idea, or something else. However, the conceptions of ‘betweenness’ in traditional Chinese aesthetics and ‘twofoldness’ in contemporary Western aesthetics tell us that our experience of paintings might not be simply from the object or the medium itself but rather from a relation between the two. This study considers (...) the intercultural value of the above concepts while examining how our aesthetic pleasure might derive from awareness of the object, the medium, and the play of our mind and body. (shrink)

In recent years, the phenomenological approach to empathy becomes increasingly influential in explaining social perception of other people. Yet, it leaves untouched a related and pivotal question concerning the unique and irreducible intentionality of empathy that constitutes the peculiarity of social perception. In this article, I focus on this problem by drawing upon Husserl’s theory of image-consciousness, and I suggest that empathy is characterized by a “seeing-in” structure. I develop two theses so as to further explicate the seeing-in structure in (...) question: first, empathy as a phenomenologically sui generis act is an intentional fusion of both presentation and re-presentation; and second, empathic intentionality is in essence twofold in that it is at once directed at both the other’s sensuously given body and the other’s non-sensuously given mentality. In this light, I argue that empathy is better conceived as a quasi-perceptual act that is fundamentally different from external perception simpliciter and other complex acts such as signitive, recollective and imaginative intention. (shrink)

본 논고는 약한 사고(il pensiero debole)로 잘 알려져 있는 지안니 바티모의 종교철학적 사상을 특별히 아우구스티누스에 대한 그의 이중적 시선을 통해 살펴본다. 아우구스티누스와 그의 사상은 바티모에게 철학적 통찰의 원천이 아니다. 하지만 바티모가 아우구스티누스를 바라보는 시선은 흥미롭게도 바티모의 사상 전체를 명확하게 드러내 보여주는 하나의 아르키메데스의 점이다. 왜냐하면 바티모는 아우구스티누스와 그의 사상을 한편으로는 형이상학적 사고로, 다른 한편으로는 그러한 사고의 약화가 시작되는 역사적 지점으로 사유하기 때문이다. 게다가 그는 후자의 측면에서 그와 같은 약화의 역사가 자신의 약한 사고로 이어진다고 생각하기도 한다. 이런 점에서 본 논고는 바티모의 (...) 사상에서 아우구스티누스의 위치를 확인하고 나아가 형이상학적인 사고와의 비교를 통해 약한 사고의 주요한 뼈대를 이루는 내용들을 노정해보고자 한다. 이를 통해 우리는 바티모의 약한 사고와 그의 기획이 가진 탈-형이상학적인 면모를 자세히 들여다볼 수 있을 것이다. (shrink)

Berkeley writes in his ThreeDialogues Between Hylas and Philonous that he “acknowledge[s] a twofold state of things, the one ectypal or natural, the other archetypal and eternal[.] The former was created in time; the latter existed from everlasting in the mind of God”. On a straightforward reading of this passage, it looks as though Berkeley is an indirect perception theorist, who thinks that our sensory ideas are copies or resemblances of archetypal divine ideas. But this is problematic because Berkeley’s rejection (...) of scepticism seems partly to rest on a rejection of indirect perception. In this paper, I consider, and reject, three different approaches to solving this problem: that Berkeley’s remarks on archetypes are unrepresentative; that Berkeley is indeed committed to divine archetypal ideas ; and that Berkeley thinks divine archetypal ideas are identical to human ideas. I finally settle on a fourth strategy, which involves reading Berkeley’s archetypes as divine powers to produce ideas. I claim that this reading is consistent with the texts, that it has an etymological basis and philosophical precedent, and that it resolves the problems associated with the other three approaches to archetypes. (shrink)

We investigate the conflict between the ex ante and ex post criteria of social welfare in a new framework of individual and social decisions, which distinguishes between two sources of uncertainty, here interpreted as an objective and a subjective source respectively. This framework makes it possible to endow the individuals and society not only with ex ante and ex post preferences, as is usually done, but also with interim preferences of two kinds, and correspondingly, to introduce interim forms of the (...) Pareto principle. After characterizing the ex ante and ex post criteria, we present a first solution to their conflict that extends the former as much possible in the direction of the latter. Then, we present a second solution, which goes in the opposite direction, and is also maximally assertive. Both solutions translate the assumed Pareto conditions into weighted additive utility representations, and both attribute to the individuals common probability values on the objective source of uncertainty, and different probability values on the subjective source. We discuss these solutions in terms of two conceptual arguments, i.e., the by now classic spurious unanimity argument and a novel informational argument labelled complementary ignorance. The paper complies with the standard economic methodology of basing probability and utility representations on preference axioms, but for the sake of completeness, also considers a construal of objective uncertainty based on the assumption of an exogeneously given probability measure. JEL classification: D70; D81. (shrink)

_Interprets Heidegger’s phenomenological reading of Aristotle’s philosophy._.