The current state of philosophy of science is characterized by stasis in the struggle between realism and antirealism. In recent years, a number of authors have come out with a program of scientific perspectivism that claims to sublate this great collision and gain the status of a new epistemological paradigm: “perspectivism, or, better, perspectival realism, is one of the newest attempts to find a middle ground between scientific realism and antirealism” [1. P. 2]. Important milestones of the perspective movement were (...) the works of Ronald Giere, Francois Recanati, Bas van Fraassen, Michela Massimi, and others. The thesis of the article is that perspectivism has not yet realized its claims to autonomy, although it has become an important new arena for discussions between realists and antirealists who try to appropriate perspectivist concepts and arguments. The “middle ground,” when thought out consistently and thoroughly, turns out to lie not “between,” but either in the territory of realism or in the territory of antirealism, depending on the presumptions of the author of a particular perspectivist conception. This is demonstrated by the analysis of the conceptions of Giere, Massimi, and Recanati. Giere’s perspectivism is based on the metaphor of color vision, and for him only some (secondary) qualities of real objects turn out to be perspectival, i.e., subject-dependent. Massimi’s perspectivism attempts, on the basis of a visual arts metaphor, to combine the phenomenon of the plurality of scientific theories (“perspectival disagreement” about what an object is) with the general realist attitude of science (agreement about that there is an object). Recanati’s perspectivism syncretizes realism about ordinary objects and relativism about other things. The first two versions of perspectivism rely on a perceptual metaphor: perspective is conditioned by the perceptual constitution of the observer, that is, it arises at the mental or cognitive level. Recanati’s version attempts to derive perspective from contextuality, that is, it is semantic. However, it does not show exactly how perceptual categories are superimposed on theories or how scientific concepts reveal their perspectival character. The isomorphism of perception and theoretical thinking, sensibility and understanding, remains undemonstrated. On the one hand, perspectivist efforts are motivated by an important concern to account for antirealist critique (lack of access to the “view from nowhere,” factual and semantic underdetermination, difficulties with the idea of approaching the truth, the historicity of knowledge, the activeness of the constructing subject, etc.) while preserving the scientific commitment to universality, validity, and truthfulness. On the other hand, the ontological question remains fundamental and unavoidable, and perspectivism (yet?) fails to circumvent it. As we see, all three versions of perspectivism considered in this article turn out to be varieties of realism: Giere and Massimi recognize this explicitly, while Recanati de facto assumes a quite respectable and conservative position of selective realism with respect to ordinary objects. (shrink)

As the subtitle “A Syncretistic Account of Fictional Entities” makes clear, Alberto Voltolini intends in this book to argue for a syncretic view of the ontology and the semantics of fiction. In the process, he offers sympathetic and clear presentations of the main contenders in the field, discussing first ontological matters (chapters 1–4) and then semantic questions (chapters 5–6), and concluding with an ‘ontological’ argument for the allegedly syncretic brand of realism about fictional entities he has by (...) then endorsed. The book will therefore be very useful for all those who want to have a guided overview of the state of the art in the field, and very helpful if used as a main text for an introductory graduate course. (shrink)

The problem of the crisis situation of Western European culture at the beginning of the 19th century became the central problem in the ideological heritage of R. Guenon. In his reflections, the French thinker turns to the consideration of the role and significance of traditions in the life of a person and society. R.Guenon fills the term “tradition” with his semantic load, making this term a key element in his philosophy. The reflexive space of Guénon’s philosophy is the sphere of (...) the philosophy of religion and it is difficult to attribute it to the sphere of religious philosophy. This difficulty lies in the departure of the French thinker from the traditions of the Christian worldview to the ideological foundations of Eastern mysticism, agnosticism and theosophical views. Perhaps it is these preferences of Guénon that lead the researchers of his work to the idea that he is, in a certain sense, the “forerunner” of the postmodern era in Europe. Tradition and the crisis of traditions for the philosopher are considered as the main subject of study. The scale of historical and philosophical analysis is taken by the thinker without embarrassment as wide as possible. Ultimately, the very crisis of culture for Guenon can and must serve as a transition to a new stage in the development of culture. In this new stage, a syncretic creative renewal of world religions on the basis of the Eastern mysteries will take place. The cyclic concept of the author’s history does not retain its traditional connection with the Christian understanding of the future, the loss of the Christian eschatological understanding of man. the Renaissance is declared a break point with the traditional understanding of being. For a philosopher, tradition is not reduced to folk custom. And already at this stage, we are witnessing Guénon’s attempt to give the established philosophical terms their own sound, fitting them to his concept and esoteric context. (shrink)

The Western world is in the habit of looking at the history of visual art ‘in closeup’ - single image by single image - and receiving its information about art history in that uniquely particulate form. But if instead we distance ourselves a little from the history of art, enough to see it ‘in long-shot’ as it were - i.e. as a more or less continuous, dense flow of images - patterns emerge in the flow which convey new information, which (...) can sometimes be in direct conflict with long-cherished traditional assumptions. If we use the 25,000 plus year of art history in this way as a ‘barium tracer meal’ for cultural evolution itself, it is unexpectedly revealed as punctuated rather than gradual, driven by alternating phases of open and closed growth in the human ecology, each with its own characteristic pressures of cultural selection. As a result human culture itself has two equally valid but opposite ‘fitness landscapes’: in the past 500 years the more successful strand in Western civilization has been the Type-A low-cohesion/ high-agility culture associated with a phase of open evolution involving our species relatively rapid transition from a manual to a machine ecology. The West’s traditional object-based imagery of painting and sculpture has its origins in that period of accelerating pre-industrial and industrial growth with its characteristic ‘economics of plenty’ epitomized by a triumphant capitalism. But the newly-emergent event-based imagery of installations and contextual art of the later twentieth and early twenty-first century is now indicating the gradual emergence (or more properly re-emergence) of the Type-B high-cohesion/lowagility pattern, previously associated with so-called ‘primitive’ cultures, and here with the global consolidation of our new machine ecology in a world increasingly dominated by the economics of scarcity. If that is so, it is probable that the syncretic form of meaning associated with the ‘sticky memes’ of art will increasingly come to challenge the present cultural dominance of analytic meaning, epitomized by the ‘smooth memes’ of science. The resolution of that conflict in evolutionary semantics may have a direct bearing on our species capacity to survive into the future. Whether it will be more decisively resolved within the Western or the Eastern group of civilizations seems at present a very open question. (shrink)

Minimal Semantics asks what a theory of literal linguistic meaning is for - if you were to be given a working theory of meaning for a language right now, what would you be able to do with it? Emma Borg sets out to defend a formal approach to semantic theorising from a relatively new type of opponent - advocates of what she call 'dual pragmatics'. According to dual pragmatists, rich pragmatic processes play two distinct roles in linguistic comprehension: as (...) well as operating in a post-semantic capacity to determine the implicatures of an utterance, they also operate prior to the determination of truth-conditional content for a sentence. That is to say, they have an integral role to play within what is usually thought of as the semantic realm. Borg believes dual pragmatic accounts constitute the strongest contemporary challenge to standard formal approaches to semantics since they challenge the formal theorist to show not merely that there is some role for formal processes on route to determination of semantic content, but that such processes are sufficient for determining content. Minimal Semantics provides a detailed examination of this school of thought, introducing readers who are unfamiliar with the topic to key ideas like relevance theory and contextualism, and looking in detail at where these accounts diverge from the formal approach. Borg's defence of formal semantics has two main parts: first, she argues that the formal approach is most naturally compatible with an important and well-grounded psychological theory, namely the Fodorian modular picture of the mind. Then she argues that the main arguments adduced by dual pragmatists against formal semantics - concerning apparent contextual intrusions into semantic content - can in fact be countered by a formal theory. The defence holds, however, only if we are sensitive to the proper conditions of success for a semantic theory. Specifically, we should reject a range of onerous constraints on semantic theorizing (e.g., that it answer epistemic or metaphysical questions, or that it explain our communicative skills) and instead adopt a quite minimal picture of semantics. (shrink)

The syncretic narrative presents a unique opportunity for enabling a contrapuntal reading and analysis of information when produced through the networked model of communication. The various iterations of the syncretic narrative can be determined and outlined through a variety of diverse practices. This paper will address and propose an outline of attributes that would potentially demonstrate the construction of syncretic narrative within creative practice.

Morphogenetic fields of thought, flux and transformation, energy and light are the manifestations that inform a new sensibility for creating realities and exploring the world. We are seeing the emergence of a new moistmedia culture and the possibilities of a syncretic art that combines aspects of a vast transdisciplinary field. Historically, syncretism has destabilized political and religious orthodoxies, reconciling and harmonizing formerly discrete antagonists; its etymology derives from the coming together of opposed tribes to resist a common enemy. In (...) contemporary culture, the enemy is habit - the uncritical repetition of behaviours, perceptions, categories and values. Just as cybernetics analogizes differences between systems, so syncretism finds likeness between unlike things. If cybernetics underlies the technology of new media art, syncretism informs the psyche. In the context of telematics, it is a matter of heuristics and heteronymia. The digital moment in art is passing as it approaches the status of orthodoxy; the period of discovery through extreme speculation, invention and untrammelled creativity is in danger of giving way to academicism and commercialization, whether in cyberspace, on the Web or through the mobile. Art's twentieth-century preoccupation with the body is giving way to the technoetic exploration of new territories of mind. This may involve revisiting the pathways to personal transformation and transcendence of older cultures, where the syncretism of knowledge and beliefs, as for example in Brazil, is explicit. Art needs to adopt syncretic strategies to embrace emerging models of mind and matter, cyberception, living process and computational systems, moist-media, quantum reality, the nanofield, and ecological, social and spiritual issues. This may lead to significant changes in the way we regard our own identity, our relationship to others, the nature of memory, the exploration of consciousness, and the phenomenology of time and space. (shrink)

This article presents and reflects upon artistic artworks at the intersection of virtual and physical computer systems with wet (biological) systems, in reference to Roy Ascott’s ‘moist theory’. It is divided into two sections. The first section offers contextualization by pointing to Darcy Ribeiro’s considerations of differentiations among Brazilians, thus leading to an expectation of miscegenation that assimilates and incorporates races and beliefs in a syncretic way. To this background is added a theoretical framework based on semiotics entwined with (...) mathematics and physics from a set of authors. Both aspects are intertwined with visceral sensations and feelings which emerged from immersible field researches. Glimpses of the 1997 Xingu expedition are introduced as an example of such immersible field research to unveil aspects related with moist theory. The second section presents four case studies that illustrate all of the concepts previously mentioned. Here, syncretism is understood as a field for events that engender the artworks. These artworks are created as metaphorical journeys aimed at expressing potential shamantic experiences and configured as a set of symbiotic systems. Two of these artworks explore neural connections; their research involves computer devices that allow human interferences in the behaviours of autonomous agents in virtual reality simulations. The resultant systems are artificially alive organisms in flux with the rhythms of the autonomous programmed processes; these change each time they run within the computer, allowing the user to symbiotically interfere in the algorithmic nature of artificial ‘seeds’. These poetic realms are metaphors of the flow of life itself. Summing up, they are technoetic artworks that could only arise from the Brazilian melting pot of cultural, racial and theoretical mixtures. (shrink)

_Insensitive Semantics_ is an overview of and contribution to the debates about how to accommodate context sensitivity within a theory of human communication, investigating the effects of context on communicative interaction and, as a corollary, what a context of utterance is and what it is to be in one. Provides detailed and wide-ranging overviews of the central positions and arguments surrounding contextualism Addresses broad and varied aspects of the distinction between the semantic and non-semantic content of language Defends a distinctive (...) and explanatorily powerful combination of semantic minimalism and speech act pluralism Confronts core problems which not only run to the heart of philosophy of language and linguistics, but which arise in epistemology, metaphysics, and moral philosophy as well. (shrink)

Linguistic Semantics: An Introduction is the successor to Sir John Lyons's important textbook Language, Meaning and Context (1981).While preserving the general structure of the earlier book, the author has substantially expanded its scope to introduce several topics that were not previously discussed, and to take account of new developments in linguistic semantics over the past decade. The resulting work is an invaluable guide to the subject, offering clarifications of its specialised terms and explaining its relationship to formal and (...) philosophical semantics and to contemporary pragmatics. With its clear and accessible style it will appeal to a wide student readership. Sir John Lyons is one of the most important and internationally renowned contributors to the study of linguistics. His many publications include Introduction to Theoretical Linguistics (1968) and Semantics (1977). (shrink)

The theory presented in my book, Natural Beauty , is syncretic in that it denies the exclusivity of any one model of aesthetic appreciation of natural objects and instead insists: (1) that there is a tight, reciprocating connection between talents of perception that we develop in relation to arts and to natural objects; and (2) that the appreciation of natural beauty is intimately connected to the appreciation of other social values, including ethical values. In this paper, I respond to (...) criticisms of my syncretic approach---chiefly that it fails to reconcile objective and subjective elements in aesthetic judgment, that it fails to marshal its many modes of judgment into rational consistency, and that it fails to take proper stock of the role of scientific knowledge in these judgments---offered by Arnold Berleant, Stephanie Ross, and Glenn Parsons. (shrink)

Lexical Semantics is about the meaning of words. Although obviously a central concern of linguistics, the semantic behaviour of words has been unduly neglected in the current literature, which has tended to emphasize sentential semantics and its relation to formal systems of logic. In this textbook D. A. Cruse establishes in a principled and disciplined way the descriptive and generalizable facts about lexical relations that any formal theory of semantics will have to encompass. Among the topics covered (...) in depth are idiomaticity, lexical ambiguity, synonymy, hierarchical relations such as hyponymy and meronymy, and various types of oppositeness. Syntagmatic relations are also treated in some detail. The discussions are richly illustrated by examples drawn almost entirely from English. Although a familiarity with traditional grammar is assumed, readers with no technical linguistic background will find the exposition always accessible. All readers with an interest in semantics will find in this original text not only essential background but a stimulating new perspective on the field. (shrink)

Doubtless interest for a modern science represents the answer to a question on the reasons of passion among intellectuals in Russia and Germany for overconfessional currents like theosophy and antroposophy. The author distinguishes the spiritual crisis like the most important prerequisite of passion for works of E. Blavatskaja and R. Shtajner. E. V. Kriageva-Kartseva compares the activity of different theosophical and antroposophical societies in two countries at the beginning of the ХХ century and draws some conclusions. For example, the author (...) regards the orthodoxy as the important factor, which has kept the expansion ofsyncretic religions to Russia. (shrink)

The problem of religious syncretism and household syncretised religiosity are two aspects of the analysis of religion. The main object and subject of our study is the second aspect - the functioning of Orthodoxy at the household level.Objectively, there was no form of religion that would act "in its pure form", that is, at its orthodox-canonical level. Thus, even world religions are the heirs of relic beliefs, the product of their further transformation in specific socio-economic and historical conditions.

This practical coursebook introduces all the basics of semantics in a simple, step-by-step fashion. Each unit includes short sections of explanation with examples, followed by stimulating practice exercises to complete in the book. Feedback and comment sections follow each exercise to enable students to monitor their progress. No previous background in semantics is assumed, as students begin by discovering the value and fascination of the subject and then move through all key topics in the field, including sense and (...) reference, simple logic, word meaning and interpersonal meaning. New study guides and exercises have been added to the end of each unit to help reinforce and test learning. A completely new unit on non-literal language and metaphor, plus updates throughout the text significantly expand the scope of the original edition to bring it up-to-date with modern teaching of semantics for introductory courses in linguistics as well as intermediate students. (shrink)

Understanding Semantics offers an up-to-date, broad and thorough introduction to linguistic semantics, the field of linguistic meaning central to the understanding of language. The book takes a step-by-step approach, starting with the basic concepts and moving through central questions to an examination of the methods and results of the science of linguistic meaning.

This paper critiques a number of standard ways of understanding the role of the metalanguage in a semantic theory for natural language, including the idea that disquotation plays a nontrivial role in any explanatory natural language semantics. It then proposes that the best way to understand the role of a semantic metalanguage involves recognizing that semantics is a model-based science. The metalanguage of semantics is language for articulating features of the theorist's model. Models are understood as mediating (...) instruments---idealized structures used to represent select aspects of the world, aspects the theorist is seeking some theoretical understanding of. The aspect of reality we are seeking some understanding of in semantics is a dimension of human linguistic competence---informally, knowledge of meaning. (shrink)

Drawn from the contributions to the 9th international “Consciousness Reframed” research conference held at University of Applied Arts Vienna in 2008, this publication aims for a timely re-definition of contemporary syncretic inquiries into the fields of art, science, technology and society through theory and practice alike, reframing the concept of innovation in its relationship to progress and change within the context of perception and its transformation. It comprises a wide range of outstanding expertise and insights of artists, architects, performers, (...) musicians, writers, scientists, and scholars. Among the authors from at least 20 countries are most prominently Roy Ascott, Gerald Bast, Jim Gimzewski, Pierre Lévy, Ryohei Nakatsu, Michael Punt, Ruth Schnell, Barbara Maria Stafford, Alfred Vendl, Victoria Vesna and Peter Weibel. The publication includes full papers and a DVD, edited by Ruth Schnell, with short video extracts of the event and accompanying visual reference. (shrink)