In this article Zoltán Somhegyi investigates the aesthetic qualities of Northern landscape representations, with a special focus on how contemporary examples are connected to classical ones. First he examines the history of the aesthetic appreciation of these sites, starting from their early modern reception and from the differentiation of “Northern” and “Mediterranean” landscapes: while the Mediterranean ones were highly valued already from the 15th–16th centuries on, the “wilder” Northern landscapes were admired mainly from Romanticism onwards. This has, among others, (...) an aesthetichistorical reason, namely the birth of the category of the sublime; and in this case the harmonious Mediterranean landscapes and the irregular yet impressive Northern ones relate to each other as the category of beautiful does to the sublime. This is why from Romanticism on Northern landscapes became not only aesthetically valuable, but even more capable than the Southern ones to move the spectator. This is especially because, from a gnoseological point of view, the landscape might be a place – and the landscape representation a means – of self-interpretation. The historical overview is then used to better understand some of the most important characteristics of contemporary Northern landscape interpretations and representations from leading artists of the region, which are analysed in the second part of the article. (shrink)

In the following text I provide my response to the three reviewers of my book titled “Reviewing the Past. The Presence of Ruins”. First I list a few elements that all the reviewers highlighted. Then, I answer the insightful comments and detailed observations brought forward by them, organised in thematic structures. In this part I start with the three main criteria and the agency of Nature in ruination. Then I investigate the issues regarding the so-called “contemporary ruins”. Ruins’ environmental character, (...) context and sitedness are put into focus in the next section, to finally arrive to the equally inspiring questions of picturesque, sublime and to the issues of representation. (shrink)

Contemporary artworks are primary sources for a better understanding of the most important issues in our current reality. The complexities of cultural interactions are often thematized in pieces of art using the artistic means of code-switching, and where the investigation of these questions is pursued in and with regards to the issues of the broader context, including the built and the urban setting. In this paper I examine some aspects of these questions, with the help of some inspiring examples, through (...) artworks by creators coming from five different parts of the world: hence in the works by Manit Sriwanichpoom, Nandipha Mntambo, Michael Rakowitz, Yinka Shonibare, and Marja Helander. In this way I aim to emphasize the global relevance of these issues, as well as what we can thus learn from and about our own origins, current standpoints, and further possibilities. (shrink)

One of the primary and most typical features of a piece of architecture is its stability, its fixed and anchored state. It is therefore surprising and, at the same time, aesthetically inspiring and intellectually exciting when buildings are moved. In the present study I examine the agency of transportation and the aesthetic consequences of such translocations in three art projects. First, I analyse the work of the Norwegian Marianne Heske, the Georgian Vajiko Chachkhiani, and the Finn Anssi Pulkkinen. I lay (...) out the aesthetic implications of the transformative decontextualization caused by the relocation of the original structure. In the second part of the paper, I present the main aspects that connect these otherwise different projects and explain why the complex and costly transportation of these pieces of architecture is relevant and justified. (shrink)

In this study I investigate several questions related to adaptive restoration, i.e. when a functioning piece of architecture operates with a different purpose to its original one, as well as the role of aesthetics in re-purposing, and the importance of the special forms of experience such a conversion provides. The questions connected to these architectural projects are not only theoretically inspiring, leading to diverse and broad fields of research in architecture, art and aesthetics, but are also crucial on a practical (...) level, and hence require caution and precise consideration, given the impact the final results of such projects may have, as well as in terms of the effect and efficiency of the new space. Creative and adaptive re-purpose, modification or complete change of function can have wonderful potential, as well as, obviously, presenting serious hazards to avoid. What is equally important, however, is that this will also contribute to a strengthening of awareness of architecture and its aesthetic qualities, hence further promoting the idea of safeguarding and care of edifices and of tangible heritage. (shrink)

Aesthetic attraction and artful execution of the object, careful design and seemingly blatant falsification by the creator, voluntarily accepted counterfeit imitation and celebration of a melancholy-filled illusion – these, and many other, often contradictory, particularities can describe one of the most complex aesthetic phenomena, that of fake ruins. Questions of perfection and mistake, accurate planning and permissive randomness, genuineness and authenticity – or the convincing justification of aesthetic experience despite the complete lack of them – profound references to the nature (...) of decay, the transience of all human creation and nostalgia can all be found around this object of art. In this article I analyse the fakeness of fake ruins with regard to the multiple consequences that this type of fake can contribute to the better understanding of both their aesthetics and the concept of mistake. (shrink)

Combining the methodologies of art history, aesthetics and cultural history, this book opens up new ways of looking at the phenomenon of ruins.

Poetry, painting, park. Goethe and Claude Lorrain KempfFranz R.legenda. 2020. pp. 260. £75. hbk.

The regulatory NodD proteins of Rhizobium bacteria mediate the activation of a gene set responsible for symbiotic nodule formation by plant signal molecules. Here we discuss the signal recognition and gene activation properties of NodD and present a model summarizing the current knowledge on NodD action.

Romanticism was the first period in art history that explicitly started to question the possibilities of a direct understanding of Nature and of achieving concrete and exact knowledge of it or of the “outside” world. In many cases, it can even be interpreted as a direct counter-tendency to the Enlightenment¢•s concept of domestication and domination of Nature. In this paper it is argued that many window- and cave representations of Romanticism, especially in Northern Romanticism, are strongly connected with the differentiation (...) of inside and outside, thus the main affirmation and message of these pictures is the inaccessibility of Nature, and this influences the composition, appearance and interpretation of the works. (shrink)

In this paper, I examine some of the various ways, spaces, and situations in which one can currently encounter aesthetic content and have an aesthetic experience. By focusing on examples coming from the world of fine arts, my survey will tackle a double question: I will try to investigate where to search for aesthetics and where aesthetics may have something to search. Considering the novel forms of art presentation that are related to the spread of alternative exhibition spaces, I will (...) examine the emergence of new audiences, the rising power of the art market and art commerce, and their dubious influence on the creation of new standards and canons of art. (shrink)

The appreciation, conservation, and reconstruction of ruins, deteriorating buildings, and archaeological sites of historical, religious or cultural value, as well as their safeguarding, lead to a complex set of issues and considerations. This brief paper suggests that a deeper understanding of the various models of heritage management can enhance acceptance of the different practices of heritage care. The fragility of heritage sites and of heritage models urges us to look for viable answers to global ethical and aesthetic questions regarding the (...) management of heritage sites. (shrink)

Combining the methodologies of art history, aesthetics and cultural history, this book opens up new ways of looking at the phenomenon of ruins.

In this paper I am proposing to investigate some possible connecting points between art, aesthetics and the urban experience, more precisely how the perception and experience of the city as well as the features of urban life can inspire artists. At the same time, I am also curious how artworks can be used to understand this urban experience, as well as how they can be interpreted as not only simple descriptions and depictions, but also as active contributions and modes of (...) suggesting solutions to the most pressing issues of contemporary cities and of city life. Hence my primary aim is discussing some approaches towards the aesthetic analyses of urbanity through modern and contemporary examples. In this way I am focusing less on how the city appears as a mere motive in artworks, or how it is used as main object or background element indicating the context in representations; and I am also not aiming to provide a survey analyses of the numerous ideas of the aesthetics of urbanity. Instead of these, here I am concentrating on how urbanity and the experiencing of the city in itself as well as its multifaceted aspects can become a source of inspiration and at the same time a critically analysed subject, i.e. a concept that is examined through the work itself. (shrink)

There is a fascinating—both an aesthetically and an intellectually pleasing—parallel between the infinite variety of forms of ruins and the almost just as infinite ways in which their history, appe...

Volume 6, Issue 1, May 2019, Page 89-93.

Ironies are implicit in the title of Zoltan Somhegyi’s book Reviewing the Past: The Presence of Ruins, and this is in keeping with ruins’ own paradoxical character as manifesting endurance and fragility, presence and absence, vivid physicality and an import that is almost entirely reflective. By inviting readers to take a desultory approach to the sequence of the book’s chapters, the author positions them to be active co-explorers of ruins who are reflective about their responses. Somhegyi analyzes various (...) threats to the survival of ruins as structures and aesthetic objects but nevertheless finds bases for some optimism. He ends the book with a chapter on a topic that seems far afield from ruins: museums that make the process of remembering thematic. This somewhat abrupt conclusion forces the reader to draw connections between his remarks on such museums and the topic of ruins. This provocation of the reader’s own reflections encourages a stance akin to that involved in the aesthetic appreciation of ruins and draws attention to their open-endedness. (shrink)

Zoltán Somhegyi’s Reviewing the Past: The Presence of Ruins takes the reader on a captivating journey through the phenomenon of ruins. It is a remarkable achievement that, I believe, only someone like Somhegyi--a philosophical aesthetician as well as an art historian, and one who has studied ruins on a global scale--could pull off so brilliantly.What I focus on in this essay, however, is on the side of ruins that I believe gets shorter shrift in this book, namely, the (...) environmental side. First, I take up some difficult cases for Somhegyi’s ontology of ruins, which I believe his account handles quite well, namely, the phenomenon of contemporary industrial and commercial ruins and the case of so-called ruins brought about through the destruction of war. Next, I turn to my main criticism of his treatment of ruins: that he looks at them predominantly through the lens of art, and not enough through the lens of nature. I suggest that Somhegyi is not sufficiently alive to consequences of the ruin’s artistic/natural hybridity; more specifically, I think he neglects some of the consequences of nature being a co-creator of the ruin. Finally, I propose further attention to the environmental views embodied in the change from the picturesque to the sublime treatment of ruins in art. (shrink)

Avia Pasternak’s admirably clearly and tightly argued book defends four broad theses. First, it argues that contemporary states are appropriately regarded.

No scientific conclusion follows automatically from a statistically non-significant result, yet people routinely use non-significant results to guide conclusions about the status of theories (or the effectiveness of practices). To know whether a non-significant result counts against a theory, or if it just indicates data insensitivity, researchers must use one of: power, intervals (such as confidence or credibility intervals), or else an indicator of the relative evidence for one theory over another, such as a Bayes factor. I argue Bayes factors (...) allow theory to be linked to data in a way that overcomes the weaknesses of the other approaches. Specifically, Bayes factors use the data themselves to determine their sensitivity in distinguishing theories (unlike power), and they make use of those aspects of a theory’s predictions that are often easiest to specify (unlike power and intervals, which require specifying the minimal interesting value in order to address theory). Bayes factors provide a coherent approach to determining whether non-significant results support a null hypothesis over a theory, or whether the data are just insensitive. They allow accepting and rejecting the null hypothesis to be put on an equal footing. Concrete examples are provided to indicate the range of application of a simple online Bayes calculator, which reveal both the strengths and weaknesses of Bayes factors. (shrink)

In this article, I discuss the concepts of social position and social status, the types of social position, as well as the determinedness of social statuses by the given positions in a new approach. In the first, introductory part of the article, I emphasize that the institutional sociological conception of social position in my approach is relatively closest to the structuralist position conception. In the second part, I introduce two different concepts, labelled social position and social status, and briefly review (...) the social determinedness of social status. In the third part, social positions are typified from the point of view of the two components of social position: on the one hand, from that of social power relations and on the other from that of interest relations. I point out that the different social positions promote the realization of interests to different degrees, that is, they make it possible to attain different social statuses. In a related article, I illustrate the concepts and connections in question with a case study carried out on an industrial shop floor. (shrink)

Combining up-to-date scholarship with clear and accessible language and helpful exercises, Metaphor: A Practical Introduction is an invaluable resource for all readers interested in metaphor. This second edition includes two new chapters--on 'metaphors in discourse' and 'metaphor and emotion' --along with new exercises, responses to criticism and recent developments in the field, and revised student exercises, tables, and figures.

This review argues that Edward Hall’s outstanding new book on the political thought of three outstanding 20th-century thinkers – Isaiah Berlin, Stuart Hampshire and Bernard Williams – has three major substantial contributions to contemporary realism: it offers convincing realist interpretations of their oeuvres, extracts inspiring new ideas from their works for future theorizing and provides powerful arguments in defence of a liberal realist position. However, given Hall’s expertise in Williams’ thought, it might be surprising that the chapters about Hampshire seem (...) the most interesting and most convincing parts of the book because they address some of the most fundamental issues of realism in an especially concise and well-written form. (shrink)

Probability kinematics is studied in detail within the framework of elementary probability theory. The merits and demerits of Jeffrey's and Field's models are discussed. In particular, the principle of maximum relative entropy and other principles are used in an epistemic justification of generalized conditionals. A representation of conditionals in terms of Bayesian conditionals is worked out in the framework of external kinematics.

The implicit-explicit distinction is applied to knowledge representations. Knowledge is taken to be an attitude towards a proposition which is true. The proposition itself predicates a property to some entity. A number of ways in which knowledge can be implicit or explicit emerge. If a higher aspect is known explicitly then each lower one must also be known explicitly. This partial hierarchy reduces the number of ways in which knowledge can be explicit. In the most important type of implicit knowledge, (...) representations merely reflect the property of objects or events without predicating them of any particular entity The dearest cases of explicit knowledge of a fact are representations of one's own attitude of knowing that fact. These distinctions are discussed in their relationship to similar distinctions such as procedural-declarative, conscious unconscious, verbalizable-nonverbalizable, direct-indirect tests, and automatic voluntary control. This is followed by an outline of how these distinctions can be used to integrate and relate the often divergent uses of the implicit-explicit distinction in different research areas. We illustrate this for visual perception, memory, cognitive development, and artificial grammar learning. (shrink)

Journal Name: Cognitive Linguistics Issue: Ahead of print.

Leading scholars in the philosophy of language and theoretical linguistics present brand-new papers on a major topic at the intersection of the two fields, the distinction between semantics and pragmatics. Anyone engaged with this issue in either discipline will find much to reward their attention here. Contributors: Kent Bach, Herman Cappelen, Michael Glanzberg, Jeffrey C. King, Ernie Lepore, Stephen Neale, F. Recanati, Nathan Salmon, Mandy Simons, Scott Soames, Robert J. Stainton, Jason Stanley, Zoltan Gendler Szabo.

The dominant theory of what people can learn implicitly is that they learn chunks of adjacent elements in sequences. A type of musical grammar that goes beyond specifying allowable chunks is provided by serialist or 12‐tone music. The rules constitute operations over variables and could not be appreciated as such by a system that can only chunk elements together. A series of studies investigated the extent to which people could implicitly (or explicitly) learn the structures of serialist music. We found (...) that people who had no background in atonal music did not learn the structures, but highly selected participants with an interest in atonal music could implicitly learn to detect melodies instantiating the structures. The results have implications for both theorists of implicit learning and composers who may wish to know which structures they put into a piece of music can be appreciated. (shrink)

In this paper I offer an explanation of the ineffability (linguistic inexpressibility) of sensory experiences. My explanation is put in terms of computational functionalism and standard externalist theories of representational content. As I will argue, many or most sensory experiences are representational states without constituent structure. This property determines both the representational function these states can serve and the information that can be extracted from them when they are processed. Sensory experiences can indicate the presence of certain external states of (...) affairs but they cannot convey any more information about them than that. So, format- or code-conversion mechanisms that link different systems of representation (linguistic and perceptual) to each other will fail to extract any relevant information from sensory experiences that could be coded in language. They only way to establish specific roles for sensory experiences in communication and the organization of behavior is to attach to them, by associative links, words, or other behavioral responses. If a sensory experience has no linguistic label associated to it in a particular subject, then no linguistic description can token, or activate, that state in the subject. In other words, no linguistic description can cause a subject to undergo an unlabeled perceptual state. On the contrary, complex, or syntactically structured perceptual states can be built up, on the basis of descriptions, by mechanisms of constructive imagination (conceived here as one sort of format conversion). It is this difference between complex and unstructured representational states that gives us an understanding of the phenomenon we call the ineffability of qualia. (shrink)

Sandberg et al. show that the Perceptual Awareness Scale scale is sensitive compared to confidence ratings and wagering in detecting accurate perception. They go on to argue that the PAS scale is hence a sensitive measure of conscious perception compared to confidence ratings, a claim disputed here. The fact that some visual content is conscious does not entail that the visual content relevant to making a discrimination is conscious. For example, if one saw a square but was only aware of (...) seeing a flash of something, then one has not consciously seen a square. When PAS and confidence ratings come in conflict, we suggest that it is confidence ratings that more reliably indicate the conscious status of contents allowing discrimination. (shrink)

This article presents three more-or-less-traditional considerations for compositionality. The first is that the usual statement of the compositionality principle is massively ambiguous. One of the eight available readings rules out all sources of multiplicity in meaning in complex expressions besides the lexicon and the syntax. Others are more permissive—how much more is not always clear. The second claim is that traditional considerations in favour of compositionality are less powerful than is often assumed. Compositionality is best construed as an empirical hypothesis (...) on meanings expressed in natural languages. Finally, the third claim is that, even if compositionality is true, most of the debates in philosophy, linguistics, and psychology surrounding compositionality will remain open. These debates tend to be about significantly stronger theses. (shrink)

How does cultural knowledge shape the development of human minds and, conversely, what kind of species-specific social-cognitive mechanisms have evolved to support the intergenerational reproduction of cultural knowledge? We critically examine current theories proposing a human-specific drive to identify with and imitate conspecifics as the evolutionary mechanism underlying cultural learning. We summarize new data demonstrating the selective interpretive nature of imitative learning in 14-month-olds and argue that the predictive scope of existing imitative learning models is either too broad or too (...) narrow to account for these findings. We outline our alternative theory of a human-specific adaptation for ‘pedagogy’, a communicative system of mutual design specialized for the fast and efficient transfer of new and relevant cultural knowledge from knowledgeable to ignorant conspecifics. We show the central role that innately specified ostensive-communicative triggering cues and learner-directed manner of knowledge manifestations play in constraining and guiding selective imitation of relevant cultural knowledge that is both new and cognitively opaque to the naive learner. (shrink)

When we utter sentences containing quantifiers, typically we are not to be taken to speak about absolutely everything there is. Suppose Mary has invited her friend John to a party to which she is going. If, upon entering the party, Mary turns to Jack and utters (1), it would be rather odd of Jack to object by pointing out that John in fact knows several people who are not present.

This essay draws on Ludwig Wittgenstein’s work to argue for a practice-oriented concept of expertise. We propose that conceptualizing types of expertise as having a family resemblance, relative to the problems such expertise addresses, escapes certain limitations of defining expertise as primarily epistemic. Recognizing the pragmatic purchase on actual problems a Wittgensteinian approach provides to discussions of expertise, we seek to understand the nature of expertise in situations where the people who need to make a difficult decision do not possess (...) or have access to the epistemic status that traditionally confers expertise. These are situations where people need to answer difficult questions that, while they may be informed by expertise in the epistemic register, are ultimately decided by expertise that weighs certified knowledge against the intractable characteristics of a particular situation. We suggest that there is not—even deep down on a conceptual level—only one kind of expertise, but multiple kinds of expertise that resonate with diverse kinds of problems. (shrink)

Semantic and pragmatic theories tend to deal with context-change in two radically opposing ways. Some view it as theoretically irrelevant, interpreting each sentence relative to the context as it happens to be at the moment of its utterance. Others view it as theoretically fundamental, proposing to view context-change as the very subject-matter of the theory of interpretation. Robert Stalnaker’s book Context steers a middle course between the extremes–to keep the semantics mostly static while letting the pragmatics go mostly dynamic. Within (...) his framework, context-change matters because interpretation is sometimes prospective, relying not on the context as it is at the time of utterance but on the context as it is anticipated to be somewhat later. This paper critically examines how Stalnaker makes use of prospective interpretation in accounting for accommodation and in capturing the insights of expressivism. (shrink)