Shortly after the appearance of the Critique of Pure Reason, Kant’s claim that the ontological proof of God’s existence contains all the probative force of the cosmological argument was discussed at great length by J. F. Flatt, J. F. v. Abel and J. A. Eberhard. These early criticisms do not seem to have received the attention they deserve, even though they are extremely relevant, cogent, and difficult to dispute. Regardless of whether their assumptions are accepted, these objections point out (...) certain obscurities and flaws in Kant’s argument, casting doubt, from a logical standpoint, on the success of the main Kantian criticism of the cosmological proof. (shrink)

English Description: Plato (429/8-349-8 BCE) founded a philosophy which has greatly impacted European intellectual history. 'Platonism' was especially influential during the Roman Empire. However, a comprehensive account of the methodological, genetic, and historical aspects of its Ethics has been lacking up to this point. Stemming from an International Conference at the University of Munster, this volume fills this lacuna. Numerous experts introduced the Ethics of Platonists of the Roman Empire in chronological sequence. The themes range from questions about basic principles (...) to the intellectual classification of ethics within the philosophy (M. Bonazzi); the psychological premises (F. Drews); the action theory (M. Perkams); and the political effect of Platonic ethics (O'Meara). These and other articles represent current research in the field as well as present the sum of the ethical problems to a wider audience in a straightforward manner. German Description: Platon (429/8 - 349/8 v. Chr.) begrundete eine Philosophie, deren Nachwirkung die europaische Geistesgeschichte nachhaltig bestimmte. Der 'Platonismus' erreichte in der romischen Kaiserzeit seinen ersten Hohepunkt. Eine umfassende Darstellung seiner Ethik, in der die systematischen, genetischen und historischen Aspekte zusammengefuhrt werden, steht jedoch bisher noch aus. Dieser Band sieht hier seine Aufgabe. Er ist das Ergebnis einer internationalen Tagung an der Universitat Munster. Zahlreiche Experten stellen die Ethik des kaiserzeitlichen Platonismus in systematischer Abfolge dar. Die Themen reichen von Grundlagenfragen nach der Verortung der Ethik innerhalb der Philosophie (M. Bonazzi) und ihren psychologischen Voraussetzungen (F. Drews) uber die platonische Tugend-, Guter- und Freiheitslehre (A. Linguiti, Ch. Tornau, Ch. Pietsch) sowie die Handlungstheorie (M. Perkams) bis hin zu den politischen Wirkungen platonischer Ethik (O'Meara). Doch wenn auch diese und weitere Beitrage die aktuelle Fachforschung reprasentieren, soll zugleich durch Allgemeinverstandlichkeit auch dem wachsenden Interesse eines weiteren Publikums an ethischen Fragestellungen Rechnung getragen werden. (shrink)

Za klasično in moderno politično filozofijo od Hobbesa prek Kanta in Hegla do Marxa postanemo državljani, ko svojo zakoreninjenost v družinske in družbene vezi spremenimo v pravni in/oziroma politični obstoj. Judith Butler in Marc Abélès, s tem da poudarjata prekarnost politike, postavljata pod vprašaj klasične distinkcije, kot je ločevanje med zasebnim in javnim, ko pokažeta, da sta imanentnost in kontingentnost konfliktov konstitutivna za vznik politike danes. Ker mislita politiko onstran države, tako Butler kot Abélès pojmujeta politični prostor kot križišče različnih (...) razsežnosti konkretnega prostora, kjer postane vidna prekarnost teles. Opirajoč se na ta dognanja, se avtorica distancira od ontologije prekarnosti, kolikor le-ta zamrači radikalno kontingentnost svobode, ki je vedno svoboda pod različnimi pogoji. Zato da bi lahko naredili vidno kontingentnost ustvarjanja političnega prostora, je zato nujno upoštevati konkretne družbene in zgodovinske pogoje takega ustvarjanja. Neontološko pojmovanje prekarnosti politike pa nasprotno omogoča pokazati nenavadno bližino metod, ki jih uporabljajo v psihoanalizi in politični antropologiji. Psihoanalizi in politiki je skupno to, da konstruirata prostor za tavanje. Toda če psihoanalize vseeno ni mogoče priličiti politiki, kolikor ima namreč opraviti s posameznimi singularnostmi in ne kolektivi, pa vseeno lahko ponudi orodja za analizo političnih situacij. (shrink)

Introduction Première partie – Réflexions sur le développement de la théorie des équations algébriques Section première. Les règles de la méthode Chapitre premier. Le théorème de Lagrange Chapitre II. Le théorème de Gauss Chapitre III. La « méthode générale » d'Abel : preuves « pures » et démonstrations d'impossibilité Chapitre IV. La théorie de Galois Section deuxième – Mathématique universelle Chapitre V. La théorie de Klein Chapitre VI. La théorie de Lie Conclusion. La mathématique universelle Notes Note I. Sur (...) la notion mathématique de l'infini Note II. Sur les constructions géométriques dans les Eléments d'Euclide Note III. Le « principe des relations internes » Bibliographie. (shrink)

Der Band vereinigt 20 Studien zu Nietzsche von Werner Stegmaier, der in den vergangenen drei Jahrzehnten der internationalen Nietzsche-Forschung starke Impulse gegeben und zuletzt achtzehn Jahre lang, zusammen mit Günter Abel, die Nietzsche-Studien, das international führende Organ der Nietzsche-Forschung, geleitet und die Monographien und Texte zur Nietzsche-Forschung herausgegeben hat. Die Studien handeln von Grundfragen der Philosophie Nietzsches. Sie setzen ein (I) mit seiner Neubestimmung der Wahrheit und der Philosophie und (II) seiner Verzeitlichung des Denkens unter (III) Verzicht auf, die (...) Vernunft' bei der Bestimmung des Menschen, interpretieren von hier aus (IV) die Anti-Lehren von Nietzsches Zarathustra, umreissen (V) Nietzsches Ethik für, gute Europäer' und schliessen (VI) mit der Interpretation von Nietzsches Selbsteinschätzung als Schicksal der Philosophie und der Menschheit (Ecce homo, Warum ich ein Schicksal bin 1) und einer Einschätzung von Nietzsches Zukunft, die schon seit über einem Jahrhundert begonnen hat. Werner Stegmaier, Jahrgang 1946, war Gründungsdirektor des Instituts für Philosophie der Universität Greifswald nach dem Zusammenbruch der Sowjetunion und baute das Nord- und osteuropäische Forum für Philosophie auf, das Institute für Philosophie rund um die Ostsee neu miteinander ins Gespräch brachte und dort zu philosophischen Neuorientierungen beitrug. Er hat auf vielfältigen Gebieten gearbeitet, unter anderem zur Metaphysik und ihrem Grundbegriff der Substanz, zu grossen Philosophen von der Antike bis zur Gegenwart, zur philosophischen Aktualität der jüdischen Tradition, vor allem aber zur Philosophie Nietzsches. Dabei ging es ihm stets um Fragen der Ersten Philosophie, insbesondere die, was unsere Realität ausmacht, wie sie durch Zeichen und Kommunikation vermittelt wird, wie Begriffe in der Zeit existieren und womit man es beim Denken zu tun hat. Er führte den Begriff der Orientierung als elementaren Begriff der Philosophie ein und entwickelte eine umfassende Philosophie der Orientierung."--Publisher's website. (shrink)

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...) not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

The study of identity crosses all disciplinary borders to address such issues as the multiple interactions of race, class, and gender in feminist, lesbian, and gay studies, postcolonialism and globalization, and the interrelation of nationalism and ethnicity in ethnic and area studies. Identities will help disrupt the cliche-ridden discourse of identity by exploring the formation of identities and problem of subjectivity. Leading scholars in literary criticism, anthropology, sociology, and philosophy explore such topics as "Gypsies" in the Western imagination, the mobilization (...) of the West in Chinese television, the lesbian identity and the woman's gaze in fashion photography, and the regulation of black women's bodies in early 20th-century urban areas. This collection of twenty articles brings together the special issue of Critical Inquiry entitled "Identities" (Summer 1992), two other previously published essays, and five previously published critical responses and rejoinders, all of which is interrogated in two new essays by Michael Gorra and Judith Butler. Contributors include Elizabeth Abel, Kwame Anthony Appiah, Akeel Bilgrami, Daniel Boyarin, Jonathan Boyarin, Judith Butler, Hazel V. Carby, Xiaomei Chen, Diana Fuss, Henry Louis Gates, Jr., Avery Gordon, Michael Gorra, Cheryl Herr, Saree S. Makdisi, Walter Benn Michaels, Christopher Newfield, Gananath Obeyesekere, Molly Anne Rothenberg, Gayatri Chakravorty Spivak, Sara Suleri, Katie Trumpener, and Joseph Valente. (shrink)

In Violence and the Sacred (henceforth, V&S), Rene Girard remarks that when we think of siblings, we often think of affectionate relationships.1 He then proposes, however, that the stories that have come down to us through mythology and sacred scriptures often tell us otherwise. Warring siblings are embedded deeply in history, religion, and literature: Girard lists Cain and Abel, Jacob and Esau, Eteocles and Polyneices, Romulus and Remus, Richard the Lionheart and John Lackland as just a few examples of (...) the fraternal rivalry in our collective consciousness. We might add the biblical Isaac and Ishmael and Joseph and his brothers to this list. The rivalries are so pervasive that Girard declares: “the theme itself is .. (shrink)

Based on texts and personal recollections, the paper discusses the origins and roots of Philipp Frank’s philosophy of science as it was developed in Eastern Europe and later institutionalized in the United States. It takes into account the influence of Abel Rey and V. I. Lenin, considering the idea of the “bankruptcy of science.”.

Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in the (...) two books, with responses by the two authors in defence of their respective positions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Origins and Foundations of Music Education: International Perspectivesed. by Gordon Cox and Robin Sydney StevensEva Verena SchmidGordon Cox and Robin Sydney Stevens, eds., 2ndedn., The Origins and Foundations of Music Education: International Perspectives(London: Bloomsbury Academic, 2017)The Origins and Foundations of Music Educationis a selection of papers, including an introduction and a conclusion, that provides historical information about the origin and foundation of music education in compulsory schooling (...) in eighteen countries from around the world as well as historical narrations up to the present based on this history. This approach follows the prevalent tendency within historical research to explain the present state of the art as a product of the past. The authors were asked to reflect on the implementation of music education in compulsory schooling in various contexts: political, economic, religious, and social. The chapters have been revised and complemented with the latest information. An additional noteworthy contribution is that the editors managed to include new writers so that the book can provide a wide range of viewpoints from countries in Europe, America, Asia, and Africa. Religious diversity, for instance as seen in Jewish and Muslim cultures, has been taken into account. Papers from Israel, Kosovo, Lithuania, and Turkey are the new additions as well as one chapter which is dedicated to Brazil. [End Page 220]This concept is based on the observation of the editors that the roots of music education have been seen predominantly in a national context, as is usually the case when dealing with educational topics. However, recently one can observe a gradual change that is due to globalization.The purpose of the volume is not only to deliver historical information but also to make a contribution to international and comparative music education. The editors express the hope that the book can encourage readers to deepen their international understanding and awareness of the origins and foundations of music education. The goal is also to look for a "successful music education practice in various countries." 1Unfortunately, the editors do not describe what "successful" means for them. Moreover, it is largely impossible to define in general what successful is because it depends on the particular goals one sets.If you undertake an international and comparative approach, you have to clarify potentially confusing terms. The editors define "international education" and "comparative education" according to the Danish scholar Frede V. Nielsen: international education "is concerned with issues of practice and implementation," 2whereas comparative education "aims to provide historical, philosophical or otherwise interpretative explanations of how two or more educational systems have developed, responded to and/or influenced societal change." 3At this point, it would have been more profound to argue the complexity of this approach. Sigrid Abel-Struth, for instance, deems information about other music education systems is not comparative music education. 4She states that the reports are rather "informative-political" than "methodical-scientific." 5Moreover, she refers to Edmund A. Cykler who says that comparative music education should not only collect information in terms of practical and methodical aspects but also compare [!] them systematically in historical, educational, psychological, and aesthetic contexts. 6According to Bernd Clausen comparative music education requires that the researcher has to be conscious of being ethnocentric, that is Eurocentric. 7For him, comparative music education helps to reflect on the use of terms and practices and at the same time to widen the horizon for various solutions to problems. 8He also sees the necessity to reflect on one's own capacity during the process of analysis and description 9because researchers adopt an attitude or a point of view which is influenced by their cultural socialization. 10Unfortunately, these kinds of methodical reflection are missing throughout the collection. As the editors mentioned, the authors were asked not to include their opinions about the facts in the texts. However, a reflection on their own subjectivity and the research circumstances would have greatly helped readers to understand how the facts have to be seen and evaluated. One does not gain [End Page 221]objectivity when one leaves out the genesis of the facts as well as the intention of the researcher in... (shrink)

The metaphysical question of what determines the contents of fictive utterances is closely related to the epistemological question of how audiences identify the.

The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, (...) or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

While scientific inquiry crucially relies on the extraction of patterns from data, we still have a far from perfect understanding of the metaphysics of patterns—and, in particular, of what makes a pattern real. In this paper we derive a criterion of real-patternhood from the notion of conditional Kolmogorov complexity. The resulting account belongs to the philosophical tradition, initiated by Dennett :27–51, 1991), that links real-patternhood to data compressibility, but is simpler and formally more perspicuous than other proposals previously defended in (...) the literature. It also successfully enforces a non-redundancy principle, suggested by Ladyman and Ross, that aims to exclude from real-patternhood those patterns that can be ignored without loss of information about the target dataset, and which their own account fails to enforce. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

One of the most prominent ethical concerns regarding emerging neurotechnologies is mental privacy. This is the idea that we should have control over access to our neural data and to the information about our mental processes and states that can be obtained by analyzing it. A key issue is whether this information needs more stringent protection than other kinds of personal information. I will articulate and support the view, underlying recent regulatory frameworks, that mental privacy requires a special treatment because (...) of its relation to relevant aspects of personal identity. It has been suggested that this approach could be supported by the idea that mental privacy constitutes a fundamental psychological dimension of privacy. The connection between this psychological view of privacy and identity can be traced back to Irwin Altman’s idea that privacy is an interpersonal boundary regulation process. However, it is not clear whether this notion of privacy can be associated with a conception of identity that is relevant in contemporary neuroethics. I will suggest that the narrative and relational approach to identity, a prominent view in recent ethical discussions of neurotechnology, lines up with key aspects of Altman’s proposal. I suggest that if mental privacy is an essential component of identity, the latter could be affected by technological mind-reading. (shrink)

Friedrich Nietzsche has emerged as one of the most important and influential modern philosophers. For several decades, the book series Monographien und Texte zur Nietzsche-Forschung has set the agenda in a rapidly growing and changing field of Nietzsche scholarship. The scope of the series is interdisciplinary and international in orientation reflects the entire spectrum of research on Nietzsche, from philosophy to literary studies and political theory. The series publishes monographs and edited volumes that undergo a strict peer-review process. The book (...) series is led by an international team of editors, whose work represents the full range of current Nietzsche scholarship. (shrink)

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

The goal of this paper is to propose a unified approach to the split scope readings of negative indefinites, comparative quantifiers, and numerals. There are two main observations that justify this approach. First, split scope shows the same kinds of restrictions across these different quantifiers. Second, split scope always involves low existential force. In our approach, following Sauerland, natural language determiner quantifiers are quantifiers over choice functions, of type <<,t>,t>. In split readings, the quantifier over choice functions scopes above other (...) operators (such as intensional verbs like must or can). Determiner quantifiers leave a choice-function trace when they move and this trace combines with the noun restriction, which is interpreted low. That split scope always involves low existential force is derived, without stipulation, from Kratzer’s idea that low existential force can be achieved via binding (into the noun restriction). (shrink)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to (...) see them. This account meets the criteria I have identified and is superior to alternative accounts of realism. (shrink)

The debate between the amodal and the grounded views of cognition seems to be stuck. Their only substantial disagreement is about the vehicle or format of concepts. Amodal theorists reject the grounded claim that concepts are couched in the same modality-specific format as representations in sensory systems. The problem is that there is no clear characterization of format or its neural correlate. In order to make the disagreement empirically meaningful and move forward in the discussion we need a neurocognitive criterion (...) for representational format. I argue that efficient coding models in computational neuroscience can be used to characterize modal codes: These are codes which satisfy special informational demands imposed by sensory tasks. Additionally, I examine recent studies on neural coding and argue that although they do not provide conclusive evidence for either the grounded or the amodal views, they can be used to determine what predictions these approaches can make and what experimental and theoretical developments would be required to settle the debate. (shrink)

This updated essay expands on the author's analysis of the complex social and psychological reasons for the inadequate response to the climate emergency. Recent reports by climate scientists quoted in the article suggest that the pace of climate change has already reached the point of irreversibility, triggering multiple tipping points with catastrophic implications for the future of life on this planet. Yet climate change denial, which as the author explains, takes many forms itself, both aggressive and passive, remains common at (...) all levels of human society, hindering effective action. Nevertheless, citing the growing number of legal cases being brought against both fossil fuel industries and state governments for not taking sufficient and verifiable measures for dealing with the crisis, the author finds positive signs that justice may be finally catching up with the culpable parties in both sectors. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

What is the relationship between music and time? How does musical rhythm express our social experience of time? In Groove: An Aesthetic of Measured Time, Mark Abel explains the rise to prominence in Western music of a new way of organising rhythm - groove. He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components which make it work. Drawing on materialist interpretations of art and culture, Mark Abel engages (...) with aesthetic arguments, challenging in particular Adorno's critique of popular music. He concludes that groove does not simply reflect the temporality of contemporary society, but, by incorporating abstract time into its very structure, is capable of effecting a critique of it"--Provided by publisher. (shrink)

Abstract:I defend that the distinctive object of our aesthetic evaluation of films is the full emotional experience, taken as a unified whole, that we go through as we watch a film and that I call the viewer's film emotional life. The aesthetic value itself—the positive quality we perceive in the experience of having had a certain film emotional life—is in the significance we experience in that film emotional life insofar as it contributes to the discovery and the exploration of the (...) viewer's human and individual emotional nature. I finally suggest that the explanation of the positive felt quality of such experience is in the progress it represents regarding our resourcefulness as emotional subjects toward the realization of our individual ideal of life. (shrink)

This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.

I argue that our everyday evaluations of architecture are primarily evaluations of spaces and, in particular, of their inhabitability— that is, whether they serve or can serve to the realization of our individual ideal of life. Inhabitability is not only a functional criterion but an aesthetic one as well. It is aesthetic insofar as the evaluations about inhabitability include evaluations about the quality of the experience of actually doing something in —or simply occupying—a particular space. This aesthetic aspect of our (...) everyday evaluations explains, on one hand, the distinctive features of our everyday preferences for some architectonic spaces over others—namely, their very personal nature; their noticeable value in our daily lives; their inseparability from the activities we plan to realize in those spaces; and the importance of the spaces which are contiguous to the one we are evaluating. And on the other, it both reveals architecture’s significance for the quality of our daily life and serves as a guide for us to choose spaces that improve that quality. (shrink)

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way we try to account for (...) caricature and for some basic features of pictorial representations. (shrink)

John Venn and Charles L. Dodgson (Lewis Carroll) created systems of logic diagrams capable of representing classes (sets) and their relations in the form of propositions. Each is a proof method for syllogisms, and Carroll's is a sound and complete system. For a large number of sets, Carroll diagrams are easier to draw because of their self-similarity and algorithmic construction. This regularity makes it easier to locate and thereby to erase cells corresponding with classes destroyed by the premises of an (...) argument, a particularly difficult task in Venn diagrams for more than four sets. Carroll diagrams can represent existential propositions easily, so they are capable of clearly representing more complex problems than Venn's system can. Finally, both Carroll and Venn diagrams are maximal, in the sense that no additional logic information like inclusive disjunctions is able to be represented by them. Carroll's logic diagrams and logic trees constitute his visual logic system. (shrink)

Although much has been written on Descartes’ thought on animals, not so much has originated in, or has taken full account of, Descartes’ views on emotions. I explore here the extent to which the latter can contribute to the debate on whether he embraced, and to which extent, the doctrine of the bête machine. I first try to show that Descartes’ views on emotions can help offer new support to the skeptical position without necessarily creating new tensions with other central (...) aspects of his philosophy. And second, I sketch the type of theory of animal passions which Descartes could have accepted. The general conclusion I draw is not that Descartes did not hold the view of the bête machine but rather that we can find within his thought a solid stream of ideas, which became stronger towards the end of his life, that points in the opposite direction. (shrink)

It has been argued that the approximate number system (ANS) constitutes a problem for the grounded approach to cognition because it implies that some conceptual tasks are performed by non-perceptual systems. The ANS is considered non-perceptual mainly because it processes stimuli from different modalities. Jones (2015) has recently argued that this system has many features (such as being modular) which are characteristic of sensory systems. Additionally, he affirms that traditional sensory systems also process inputs from different modalities. This suggests that (...) the ANS is a perceptual system and therefore it is not problematic for the grounded view. In this paper, I defend the amodal approach to the ANS against these two arguments. In the first place, perceptual systems do not possess the properties attributed to the ANS and therefore these properties do not imply that the ANS is perceptual. In the second place, I will propose that a sensory system only needs to be dedicated to process modality-specific information, which is consistent with responding to inputs from different modalities. I argue that the cross-modal responses exhibited by traditional sensory systems are consistent with modality-specific information whereas some responses exhibited by the ANS are not. (shrink)

In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the notion of outline (...) shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)