Though pictures are often used to present mathematical arguments, they are not typically thought to be an acceptable means for presenting mathematical arguments rigorously. With respect to the proofs in the Elements in particular, the received view is that Euclid's reliance on geometric diagrams undermines his efforts to develop a gap-free deductive theory. The central difficulty concerns the generality of the theory. How can inferences made from a particular diagrams license general mathematical results? After surveying the history behind the received (...) view, this essay provides a contrary analysis by introducing a formal account of Euclid's proofs, termed Eu. Eu solves the puzzle of generality surrounding Euclid's arguments. It specifies what diagrams Euclid's diagrams are, in a precise formal sense, and defines generality-preserving proof rules in terms of them. After the central principles behind the formalization are laid out, its implications with respect to the question of what does and does not constitute a genuine picture proof are explored. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this article, we will attempt to understand Sellars’ puzzling notion of ‘adequate picturing’ and its relation to the Sellarsian ‘conceptual order’ through Spinoza’s intuitive knowledge. First, it will be suggested that there are important structural similarities between Sellarsian ‘adequate picturing’ and Spinoza’s intuitive knowledge which can illuminate some ‘dark’ and not so well understood features of Sellarsian picturing. However, there remain some deep differences between Sellars’ and Spinoza’s philosophy, especially with regard to their notion of ‘adequacy’ and the sense (...) in which an idea can be said to ‘correspond’ with its object. As a consequence of those differences it turns out that, from a Sellarsian viewpoint, Spinoza’s notion of intuitive knowledge is a version of the myth of the Given. However, Sellars’ own proposed way out of the Myth has problematic consequences by Sellars’ own lights: His sharp distinction between the ‘space of reasons’ level and the level of picturing makes the Sellarsian vision of the ‘stereoscopic fusion’ of those levels virtually unintelligible. Finally, it will be argued that a non-standard interpretation of Spinoza’s intuitive knowledge -proposed in Baltas -, combined with a Sellars-inspired bifurcated understanding of Dreyfusian expert knowledge, can provide the means 1) for constructing a notion of intuitive knowledge that evades the myth of the Given, and, 2) for making full sense of the claim that the ‘space of reasons’ dimension of understanding the world can in principle be fused with the ‘picturing’ dimension and provide us with a single complex coherent experience of reality and our place in it. (shrink)

In this article I argue that there are metaphoric pictures and that pictures have propositional content; but, I also argue, it does not follow that metaphoric pictures are to be explained in terms of metaphoric content. I develop a "comparison" or "predication" approach that stresses that metaphoric pictures depend on their use in contexts that invoke relevant background knowledge. Our competence with metaphoric pictures is a nonsystematic, nonspecifiable competence because it consists in our ability to harness any variety of relevant (...) background knowledge on the basis of contextual factors. It follows that insofar as our competence is not systematic, it is not possible to have a theory of metaphoric pictures, in the sense of a systematic specification of the types of factors or principles that allow one to grasp that a picture is metaphoric and what the metaphor is. (shrink)

Digital pictures can be type-identical in respect of colours, shapes and sizes (allographic), but they are not tokens of notational systems, because the types under which they are identical have vague limits and do not meet the requirements for notational characters. Digital display devices are designed to instantiate only limited ranges of objective properties (light intensities, sizes and shapes). Those ranges keep differences in objective magnitudes below sensory discrimination thresholds, and thus define objective conditions sufficient, but not necessary, for the (...) phenomenal type-identity of pictures. The fact that digital pictures are types shows that pictures are not necessarily autographic. Moreover, the reasons why digital pictures are allographic (essentially, the consistent manipulation of sub-phenomenal information) could in principle also be made to apply to non-digital pictures. (shrink)

Assuming that the vehicle of imaginal thought is a spatial model may not be quite as egregious an error as assuming it is a two-dimensional picture, but it represents no less a reification error. Because the model is not a literal physical layout, one is still owed an explanation of why spatial properties hold in the model – whether because of architectural constraints or by stipulation. The difference is like the difference between explaining behavior from a principle and (...) predicting it by looking it up in a list. In the latter case no purpose is being served by calling it a mental model. (shrink)

Analyzes President Reagan's speeches and actions to paint a full, accurate picture of his conservative beliefs, and identifies the eleven principles that lie at the core of his conservatism.

The subject of my dissertation is the notion, what could turn out, extracted from Naming and Necessity, in a context in which it is being used to show the contingency of gold's yellowness. ;In general, I seek to establish an actuality-oriented notion of what could turn out that makes a break with an epistemological picture of this notion as well as another making what could turn out for an object depend on what's metaphysically possible for it. ;In particular, I (...) distinguish various what-could-turn-out notions. I then develop an actuality-oriented notion of what could turn out on which what-could-turn-out truths are in subject-predicate form. Afterwards, I provide some of the necessary conditions for an object's possessing a what-could-turn-out predicate. That a what-could-turn-out predicate applies to an object depends on at least two conditions: that the object in question actually possess the simple property P contained within the complex modal one, could turn out P; and that, in principle, we could come to know of the object's actually possessing P. For example, in order for neutrinos to possibly turn out to have infinitesimal mass, it must at least be the case that they actually have infinitesimal mass, and that, in principle, we could come to know of their actually being as such. (shrink)

Specific moral facts seem to be grounded in relevant natural facts, together with relevant moral principles. This picture—according to which moral principles play a role in grounding specific moral facts—is a very natural one, and it may be especially attractive to non-naturalist, robust realists. A recent challenge from Selim Berker threatens this picture, though. Moral principles themselves seem to incorporate grounding claims, and it’s not clear that this can be reconciled with according the principles a grounding role. This (...) chapter responds to Berker’s Challenge, utilizing a grounding pluralism. In particular, it argues that distinguishing between normative and metaphysical grounding is the key to saving the natural picture. It also shows how such a distinction is one that you have a reason to endorse independently of this challenge, as it does important work elsewhere in moral philosophy. (shrink)

The principle of contradiction, or non-contradiction, is traditionally included as one of the three fundamental principles of logic, together with the principle of identity and the principle of excluded middle. There is a consensus now regarding the shape of the principle of contradiction in modern formal logic. However, a deeper look at the history of its formulation reveals a much more complicated picture. We trace some of such developments from the beginning of the twentieth century (...) when all sorts of formalisms were proposed, and even the name itself was up for debate. Our focal point is the proposals made by Christine Ladd-Franklin, which we describe against the background of other attempts at the time. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The Principle of Sufficient Reason is very seldom, if ever, referred to in the works of whom we might think of as the eminent Asian metaphysicians. In spite of this, the big picture metaphysical views available in the thought of philosophers such as Nāgārjuna, Fazang and Nishida appear to share certain structural features with views more familiar to us from our own tradition; views that explicitly accept or reject the Principle of Sufficient Reason. Nāgārjuna looks to develop (...) a kind of metaphysical infinitism, Fazang an extreme form of coherentism, and Nishida a species of foundationalism. These three positions - infinitism, coherentism and foundationalism - are typically thought to exhaust the spread of possibilities by those working within the Western tradition. -/- In spite of their similarities to positions advanced within our own tradition, the cosmologies of many of the giants of Asian philosophy are characterised by their rather striking conclusions. Amongst such conclusions for Nāgārjuna is that everything is empty; for Fazang that everything is identical to everything else; and for Nishida that everything depends on absolute nothingness. If the Principle of Sufficient Reason is playing a role in the derivation of such striking conclusions, then it looks that there are more options regarding the metaphysical structure of the world available to us than our own tradition typically courts. If, on the other hand, these striking cosmological conclusions are arrived at without any consideration of sufficient reason, then there may well be ways of reasoning about the overarching structure of reality that are powerful but unfamiliar to Western thinking. In this contribution, I explore what, if any, role the PSR might be playing in the thought of Nāgārjuna , Fazang and Nishida, and what we might be able to learn from it. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Suppose we take a picture containing a full image of a duck and slice it right through, leaving some of the duck image on one slice and some of it on the other. How many duck images will we be left with? Received theories of pictorial representation presuppose that a surface cannot come to contain new images just by changing its physical relations with other surfaces, such as physical continuity. But as it turns out, this is in tension with (...) received theories’ approach to incomplete images. I address three views with respect to the circumstances in which incomplete images of X represent X. 1. A liberal, non-restrictive view: ‘Iff they meet relevant requirements posed by received theory of pictorial representation.’ 2. Moderate restrictions of this view and 3. A fully restrictive view. After investigating challenges for the liberal view, I end up supporting it. The main challenges rest on the fact that only the fully restrictive view can plausibly accommodate some principles that seem inherent to our theory of representation. For instance: only this view accommodates received theories’ presupposition that the representational properties of a surface depend on its configurational properties such that new images may appear on a surface only if its configurational properties have changed. Since the liberal view is overall more plausible than the restrictive view, I reject this presupposition and bear the consequences. (shrink)

Theoretical basis of the article is the interpretation of the lexis as a system, conditioned by the natural unity of the linguistic and extra-linguistic factors. But the main factor that influences the lexical system still is the relations of the reality itself, ordered in this language system. The article discusses the need to create a body of new thesaurus dictionaries of integrated type. The novelty of the problem is based on the achievements of modern linguistics in the study of lexis, (...) as well as the dynamics and variability of modern life when the whole layers of lexical units becoming ''obsolete'' (for example, in sections ''Man'', ''Society'') and quite a significant part of the lexical units on the contrary is updating. The paper defines the principles and forms of creating new generation of the dictionaries of the Russian language. The article concept may be of interest to foreign professionals engaged in lexicography. (shrink)

In recent years, there has been a substantial amount of work in reverse mathematics concerning natural mathematical principles that are provable from RT, Ramsey's Theorem for Pairs. These principles tend to fall outside of the "big five" systems of reverse mathematics and a complicated picture of subsystems below RT has emerged. In this paper, we answer two open questions concerning these subsystems, specifically that ADS is not equivalent to CAC and that EM is not equivalent to RT.

One of the persistent features of historical writing about the sciences in the last twenty years has been the concern of a number of historians who insist on the need for a new awareness of the role of visual images and image making. The author believes that, rather than reducing the analysis of visual culture to a single set of principles, the point of the academic study of scientific images is the recognition of their heterogeneity, the different circumstances of their (...) production, and the variety of cultural and social functions they serve. This essay challenges historians to discover new ways of framing the historical meanings of scientific images within the larger contexts of signifying symbols, images, and mediations that make up culture. The study of nineteenth‐century practices of building collections of scientific photographs provides the background for a discussion of the significance of picture archives in the history of science, of the historical mechanisms that frame some pictures as “scientific” and others as “unscientific,” and of the need for further research on how scientific images generate meaning. (shrink)

Argues against views alternative to particularism in detail, including the views of McNaughton and Rawling, Crisp, Raz, Scanlon, Hooker, Parfit, and also appeals to Aristotelian philosophy of science.

The epistemology of dialectical materialism emphasizes two characteristic features of the picture of the world existing in our minds. First, it presents itself as reflection, i.e., as an image of an objective reality that exists independent of our consciousness. Secondly, this picture provides a reflection of the real world and the regularities of its development that is only approximately complete. The following comment by Lenin is of fundamental significance in this connection: "Cognition is man's reflection of nature, but (...) it is not a simple, not a direct, not a complete reflection, but a process involving a series of abstractions, the shaping and formation of concepts, laws, and the like, various concepts, laws, etc. and embraces, conditionally and approximately, the universal regularity of nature which is eternally moving and developing". (shrink)

Fischer’s approach for structure elucidation of linear aldohexoses is still the most widespread alternative in textbooks for carbohydrates. However, in post-Fischer era, a series of remarkable discoveries and inventions were made in different laboratories, and by their use a more comprehensive and coherent strategy for structure elucidation of linear isomeric aldohexoses can be elaborated. Fischer used the exceptional properties of d-mannose for the knowledge of configuration of C-2 and called it the key of the gate to stereochemistry. We bring the (...) evidence that Fischer had an alternative to this monosaccharide, d-idose. Fischer discovered the correct structure of the enantiomers of tartaric acid by pure intuition but Bijvoet proved it experimentally by means of X-rays. Hybridization, a concept taken by L. Pauling from biology, reconciled physics and chemistry concerning the valence of carbon atom and explained the stereochemical picture that had been empirically elaborated by Van’t Hoff and Le Bel. Other chemical transformations of monosaccharides, useful in the elucidation of their structure, have been also discovered or invented in post-Fischer era. (shrink)

In their excellent monograph, Crimes, Harms and Wrongs, Andrew Simester and Andreas von Hirsch argue for an account of legitimate criminalisation based on wrongfulness, the Harm Principle and the Offence Principle, while they reject an independent anti-paternalism principle. To put it at its simplest my aim in the present paper is to examine the relationship between ‘the harms’ and ‘the wrongs’ of the authors’ title. I begin by comparing the authors’ version of the Harm and Offence (...) class='Hi'>Principle with some other influential accounts. After examining the role wrongfulness plays in their work, I ask what there is left for their Harm and Offence Principles to do. In the light of the understanding and foundations of the Harm and Offence Principles proposed by the authors, I suggest that the answer is little or nothing. The wrongfulness constraint the authors place on their Offence Principle comes close to swallowing it up entirely. Furthermore the part of their Offence Principle that is not thus swallowed by wrongfulness leaves the account with a commitment that is probably best dropped. As far as their Harm Principle is concerned I suggest that the authors’ account of ‘harm’ is so broad that it lacks the resources to distinguish harm-based reasons from wrongfulness- or immorality-based reasons in any principled way. Among other things, I ask in this context, first, whether one can be harmed as one’s character deteriorates and, secondly, whether one is harmed by virtue of the serious wrong one does to another. What really drives the authors’ account of legitimate criminalisation, I believe, is wrongfulness together with an important, amorphous set of potential defeating conditions. They themselves accept such a picture so far as paternalism is concerned. I conclude that their account, which I think has considerable force, would lose little of any significance were their Harm and Offence Principles simply excised. More generally I suspect that a strong role for wrongfulness in an account of legitimate criminalisation is likely to put into serious question the plausibility of an independent principled role for harm and offence. (shrink)

When we first begin to reflect about conduct in a philosophical way? whether as philosophers or not, we look for general truths, fundamental principles. Our acceptances and rejections, preferences, commendations and disgusts, seem at the start chaotic and unsystematic, and we hope to reduce them to order—to show that there are general principles by reference to which all our varied acts, admirations and decisions can be understood and justified. The number of such principles should for choice be small. Ideally, we (...) think, it should be possible to present our progress through life not as a thing of fits and starts, of zig–zags, gestures and recoils, but as aimed in a single uniform direction. If we esteem some things above others, praise some men, commend some deeds, admire some paintings this should be because in each case the Supreme Value or Ultimate Good finds expression in the esteemed, praised, commended or admired thing, man, deed or picture. We hope to find a single standard by coming up to or falling short of which things of all sorts will earn the prizes or rebukes they deserve. (shrink)

If it is true, as one of its founders, George Miller, tells us, that cognitive science was born in 1956, then by human aging standards it is coming upon a mid-life crisis. Crises, as Kuhn has taught us, often precipitate radical change, in science as well as in individuals. It should therefore not be surprising to find that cognitive scientists have begun to look to the future and predict, or hope, that it will include both the beautiful and the good. (...) Thus it is that the neuroscientist, Semir Zeki, has recently declared: “We are at the threshold of a great enterprise” which he calls neuroesthetics. His optimism about that enterprise has been echoed by a number of other researchers; and for the most part, their hopefulness is based on discoveries about how pictures are perceived. So, for example, V. S. Ramachandran and William Hirstein have said that by understanding the neuropsychological principles of picture perception, we may come to understand the very “essence of art”. Indeed, by identifying perceptual principles in the right way, according to David Gilden, we may discover common ground for normative disciplines of all stripes; a theory of “what is sexy, what is virtue, or what is a good buy”. (shrink)

In this article, I set out to prove that if, by following this basic intuition, we correctly understand human nature and organize our world according to the principle of cooperation, we can arrive at a world of social harmony. The current disharmony in the world, which can be observed especially in the field of politics and economics, is largely related to the erroneous modern Western philosophical assertions identifying the human being with an individual moved by desires and the will (...) to power, and the phenomenon of life with an endless conflict. These misconceptions have enormous practical implications on the picture of today’s world. I want to show that cooperation is an integral part of human nature, and that the society organized according to the requirements of our nature can become a truly harmonious and happy society. (shrink)

This paper draws from the resources of Iris Murdoch''s moral philosophy to analyze the ethical status of the emotions at two related levels of reflection. Methodologically, it argues that a recovery of the emotions requires a revised notion of moral theory which affirms the basic orientation of consciousness to some notion of value or the good. Such a theory challenges many of the rationalist premises which in the past have led moral theory to reject the role of emotions in ethics. (...) In particular, it acknowledges the centrality of moral psychology to ethics and reclaims the notion of consciousness rather than the will as the primary mode of human moral being. At a second, more substantive level, the paper explores the relation between the emotions and consciousness. Specifically, it defends a cognitivist and reflexive theory of the emotions which affirms a strong relation between the emotions and our evaluative beliefs. On this view, the emotions reflexively mediate our relation to objective value. In order to earn their cognitive status, however, the emotions must be tested in relation to a critical principle in order to guard against the egoistic tendencies of consciousness to build up images of reality to serve its own purposes. Therefore, a theory of the Good must be part of the critical content of a reflexive theory of the emotions. (shrink)

The epistemology of dialectical materialism emphasizes two characteristic features of the picture of the world existing in our minds. First, it presents itself as reflection, i.e., as an image of an objective reality that exists independent of our consciousness. Secondly, this picture provides a reflection of the real world and the regularities of its development that is only approximately complete. The following comment by Lenin is of fundamental significance in this connection: "Cognition is man's reflection of nature, but (...) it is not a simple, not a direct, not a complete reflection, but a process involving a series of abstractions, the shaping and formation of concepts, laws, and the like, various concepts, laws, etc. and embraces, conditionally and approximately, the universal regularity of nature which is eternally moving and developing". (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle on Pictures of Ignoble AnimalsDavid Socher (bio)The Poetics is a widely read, accessible classic. I think it has a minor flaw of some interest. In a well-known passage early in the Poetics, Aristotle is in error about pictures, or so I shall argue. He writes:And it is natural for all to delight in works of imitation. The truth of this second point is shown by experience: though the (...) objects themselves may be painful to see, we delight to view the most realistic representations of them in art, the forms for example of the lowest animals and of dead bodies. The explanation is to be found in a further fact: to be learning something is the greatest of pleasures not only to the philosopher but also to the rest of mankind, however small their capacity for it; the reason for the delight in seeing the picture is that one is at the same time learning — gathering the meaning of things, e.g. that the man there is so-and-so; for if one has not seen the thing before, one's pleasure will not be in the picture as an imitation of itbutwill be due to the execution or colouring or some similar cause.1I set out Aristotle's position as follows:1. It is natural to delight in imitation.2. In spite of it being unpleasant to look at a low animal, we delight in looking at an imitation of one — a picture.3. The pleasure in appreciating a picture comes from gathering the meaning, that is, recognizing the subject.4. Therefore if I look at a portrait of someone I don't know, I can't enjoy the imitation as such, because I don't recognize the person.5. And therefore if I do take pleasure in such a picture, it is not pleasure in the imitation as such but perhaps in the color, line, form, etc.My dispute is with points 4 and 5. Points 1 through 3 take for granted something that points 4 and 5 overlook and, in effect, deny: that is, that imitation comes in two levels: imitation of a kind and imitation of an individual. Aristotle illicitly slips from the first level to the second. The beginning of the [End Page 27] passage concerns imitations of, and fidelity to, a kind; the end concerns imitations of, and fidelity to, an individual.Before pursuing this complaint, a general remark: Aristotle's slip is a small one, incidental to his point. He speaks to the old paradox that "we enjoy the distress of tragedy."2 In bringing up pictures, he does not intend to dwell on them but is merely demonstrating the general principle that the very thing we find painful in the flesh can be enjoyed in make-believe.3 Why then, if the error is so small, discuss it at all? Because its examination reveals a significant distinction between types of picture, and because a minor slip in a major and influential classic is worth pointing out on that count alone.Let us look at the opening subject: pictures of ignoble animals — of snakes and snails and puppy dog tails. Are these portraits of individuals, like a portrait of the family dog or of the great racehorse Seabiscuit? No. The scientific spirit in us enjoys the most realistic representations of a fly, spider, and slug as an accurate anatomical rendering of a specimen sample, which is not a particular actual individual. It is the fidelity to its kind that we admire here (especially in times before photography). Examine, for example, the goal and the achievement of John Audubon. In his quest for accuracy, Audubon killed a dozen or so birds for each painting so as to always have a fresh model. Would anyone be so foolish as to ask Audubon if such a painting were a portrait of the fifth or of the sixth now-dead red-breasted robin? No, he preserves and presents visual knowledge of kinds, of the looks of kinds of thing.At the close of the passage, Aristotle discusses recognizing an acquaintance in a portrait. Had I not known him, I could only take... (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Scientists often make use of epistemic representations in order to perform investigations about the real world. So far, philosophers of science interested in epistemic representation of this sort have mostly focused on scientific models. In this thesis, I argue that there are other interesting instances of representation besides models: thought experiments, experimental organisms, and mechanically-produced pictures. These represent portions of the world in the same way as models do, if the concept of epistemic representation is properly understood. In Chapter 1, (...) I introduce and develop the idea that a system functions as an epistemic representation of a designated target system insofar as it is interpreted as a symbol that both possesses and highlights some properties that are then to be imputed to that target system via a proper de-idealising function. In the main body of the thesis, I analyse the above-mentioned types of representations and argue that they function as representations in the same way as scientific models. Chapter 2 discusses the use of thought experiments in physics, with particular focus on Galileo’s thought experiment that illustrates the principle of inertia. Chapter 3 focuses on experimental organism research in biology, with specific attention to the Drosophila melanogaster. Finally, Chapter 4 is about the epistemic use of mechanically produced pictures with the picture of a black hole as the primary case study. In each chapter, I further show that by studying these types of representation through the lens of the account developed in Chapter 1, one can (dis)solve specific issues about thought experiments, model organisms, and pictures respectively. In Chapter 5, I further defend my proposal from scepticism about the concept of representation and its application to these different cases. Chapter 6 concludes the thesis by illustrating the most general implications of my analysis and proposing routes for future enquiry. (shrink)

In this paper we study a new approach to classify mathematical theorems according to their computational content. Basically, we are asking the question which theorems can be continuously or computably transferred into each other? For this purpose theorems are considered via their realizers which are operations with certain input and output data. The technical tool to express continuous or computable relations between such operations is Weihrauch reducibility and the partially ordered degree structure induced by it. We have identified certain choice (...) principles such as co-finite choice, discrete choice, interval choice, compact choice and closed choice, which are cornerstones among Weihrauch degrees and it turns out that certain core theorems in analysis can be classified naturally in this structure. In particular, we study theorems such as the Intermediate Value Theorem, the Baire Category Theorem, the Banach Inverse Mapping Theorem, the Closed Graph Theorem and the Uniform Boundedness Theorem. We also explore how existing classifications of the Hahn—Banach Theorem and Weak Kőnig's Lemma fit into this picture. Well-known omniscience principles from constructive mathematics such as LPO and LLPO can also naturally be considered as Weihrauch degrees and they play an important role in our classification. Based on this we compare the results of our classification with existing classifications in constructive and reverse mathematics and we claim that in a certain sense our classification is finer and sheds some new light on the computational content of the respective theorems. Our classification scheme does not require any particular logical framework or axiomatic setting, but it can be carried out in the framework of classical mathematics using tools of topology, computability theory and computable analysis. We develop a number of separation techniques based on a new parallelization principle, on certain invariance properties of Weihrauch reducibility, on the Low Basis Theorem of Jockusch and Soare and based on the Baire Category Theorem. Finally, we present a number of metatheorems that allow to derive upper bounds for the classification of the Weihrauch degree of many theorems and we discuss the Brouwer Fixed Point Theorem as an example. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

By a thorough study of the Posterior Analytics and related Aristotelian texts, Richard McKirahan reconstructs Aristotle's theory of episteme--science. The Posterior Analytics contains the first extensive treatment of the nature and structure of science in the history of philosophy, and McKirahan's aim is to interpret it sympathetically, following the lead of the text, rather than imposing contemporary frameworks on it. In addition to treating the theory as a whole, the author uses textual and philological as well as philosophical material to (...) interpret many important but difficult individual passages. A number of issues left obscure by the Aristotelian material are settled by reference to Euclid's geometrical practice in the Elements. To justify this use of Euclid, McKirahan makes a comparative analysis of fundamental features of Euclidian geometry with the corresponding elements of Aristotle's theory. Emerging from that discussion is a more precise and more complex picture of the relation between Aristotle's theory and Greek mathematics--a picture of mutual, rather than one-way, dependence. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The article discusses the problems of constructing a scientific picture of the world in a technogenic civilization at the stage of its globalization. The interdependence of science, technology and society generates a number of issues of a socio-humanitarian and, in particular, ideological nature. Interdisciplinary forms of organization of sciences contribute to the development of borderline methodologies. These methodologies integrate the achievements and problems of specific disciplines into a certain overall picture. The ambitions of this worldview include space, planetary (...) nature with all geo – shells, as well as the biosphere, technosphere, sociosphere, anthroposphere. In the course of communicative interactions, scientists have developed methodological principles for constructing a picture of the world. These principles claim to be universal: integrity, consistency, coherence, structurality, evolution/involution, complexity, self-organization, human dimension. However, epistemic and communicative difficulties accompany the construction of a general scientific picture of the world. There are methodological, experimental, linguistic, cognitive barriers between disciplines. Also, the unevenness of their development is strong. Competition between disciplines and reductionist programs are often caused by social reasons – politicization, ideologization and commercialization of big science. Philosophy seeks to connect the idea of a scientific picture of the world with a change in self-consciousness and a person’s place in the world. The prospect of intellectual synthesis fluctuates between the transdisciplinary form of organization of collective scientific thinking and the ideological imperialism of individual philosophical and scientific programs. (shrink)

For Hans Hofmann and Clement Greenberg, flatness–more specifically, “re-created flatness,” a term Greenberg adopted after hearing it used in the painter’s important 1938– 39 lectures–became a key term in their accounts of pictorial meaning. In this paper, I articulate what is significant about that idea and draw out its implications for understanding what Hofmann meant by artistic expression. Ultimately, I suggest that the concept of re-created flatness, and its pictorial realization, implies or entails a certain view of expression: namely, that (...) what is expressed by an artwork is the artist’s meaning (in contradistinction to the arbitrary meanings that may be imputed to her work by a viewer). This paper has three principle objectives. First, I overview Hofmann’s unpublished writings and lectures on aesthetics. So far, the critical analysis and evaluation of these materials have had little visibility in modernist studies. I aim not only to contribute a more specific account of Hofmann’s concepts as they were introduced through his program of aesthetic education but also to situate them in a wider intellectual and critical context. Second, I interpret the significance of those ideas for modernist criticism by focusing especially on the concept of re-created flatness as it appears in the writings of both Hofmann and Greenberg. Finally, I hope to demonstrate that Hofmann’s closely associated notions of flatness, depth, and the picture plane are deeply implicated in the issue of modernist painting’s autonomy, especially as formulated by Greenberg. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The logical empiricists often appear as a foil for feminist theories. Their emphasis on the individualistic nature of knowledge and on the value-neutrality of science seems directly opposed to most feminist concerns. However, several recent works have highlighted aspects of Carnap's views that make him seem like much less of a straightforwardly positivist thinker. Certain of these aspects lend themselves to feminist concerns much more than the stereotypical picture would imply.

Physical cosmology is one of the disciplines at the forefront of modern science. Using existing physical theories and creating own ones, it describes the dynamics and evolution of the Universe, transforms and modernizes the scientific picture of the world on the largest possible scale. The article analyzes the main presuppositions and outcomes of nowadays cosmology, which are based on fundamental physical principles (theories) and astronomical observations. It has been revealed that throughout its existence as a science (about 100 years), (...) cosmology stimulated the emergence of a plenty of worldview-philosophical problems. Therefore, we need a comprehensive update of the philosophy of cosmology, which can help to realize such problems. Given the need for cooperation between cosmology and the philosophy of science, we propose to use various methodological, ontological, epistemological and other philosophical techniques to solve philosophical problems arising in cosmological research, as well as to generalize the existing knowledge about the Universe. (shrink)

In this paper, we take issue with the belief–desire model of second- and third-person action interpretation as it is presented by both theory theories and cognitivist versions of simulation theory. These accounts take action interpretation to consist in the (tacit) attribution of proper belief–desire pairs that mirror the structure of formally valid practical inferences. We argue that the belief–desire model rests on the unwarranted assumption that the interpreter can only reach the agent's practical context of action through inference. This assumption (...) betrays a deep-seated bias toward disengaged, observational interpretation strategies. On our alternative picture, the interpreter can start off on the assumption of a shared practical context and proceed to reason discourse in those cases in which this assumption runs aground. Following Brandom's non-formalist account of reason discourse, we suggest that interpreting other people's actions in terms of reasons is not a matter of following the principles of formally valid practical syllogisms, but of endorsing practical material inferences that are correct in virtue of a shared practical world. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

That the same story can be told in different media is one of the fundamental claims of narratology. Claude Bremond famously listed verbal narrative, novels, theater, movies and ballet among potential vehicles for story. He thus prepared the ground for narratology’s future as a discipline engaged in narrative research across media, in principle including single still pictures. However, narratological research concerned with pictorial narrativity generally proceeds from the assumption that although single pictures may evoke or imply stories, they are (...) unsuitable for storytelling in a strict narratological sense. Focusing on the key issue of temporality, this essay will show that a single still picture may indeed tell “a story proper” and can thus be regarded as a narrative, even according to a narrow definition. (shrink)

It is a common view in cognitive psychology that there is a fundamental difference between what may be called descriptive information, on the one hand, and depictive information, on the other. While the first kind of information is — ideally spoken — non-pictorial and usually equated with the content of a proposition, the second kind of information is pictorial by defmition and accordingly equated with the content of a mental image. Granting the correctness of this distinction, cognitive scientists differ on (...) the role played by mental images in epistemic processes. One faction, represented by the writings of Zenon Pylyshyn, asserts that mental images are merely an epiphenomenon of a more general and abstract processing system, and that they are in principle dispensable since they do not have any truth value.1 Another faction, represented by the writings of Stephen Kosslyn, favors the opposite view, maintaining that mental images are indispensable since they play, in spite of their lack of truth value, a fundamental role in human thinking.2 As Arthur I. Miller has proposed in his book Imagery in Scientific Thought, these two factions may be labeled as the “antiimagist” and the “pro-imagist” view, respectively. (shrink)

I discuss what Aristotle means when he say that scientific demonstration must proceed from necessary principles. I argue that, for Aristotle, scientific demonstration should not be reduced to sound deduction with necessary premises. Scientific demonstration ultimately depends on the fully appropriate explanatory factor for a given explanandum. This explanatory factor is what makes the explanandum what it is. Consequently, this factor is also unique. When Aristotle says that demonstration must proceed from necessary principles, he means that each demonstration requires the (...) principle that is the necessary one for the fully appropriate explanation of its explanandum. This picture also provides a key to understand Aristotle's thesis that scientific explanation depends on essences: it is the essence of the attribute to be explained that should be stated as the fully appropriate explanatory factor. (shrink)

While there is a longstanding discussion about the interpretation of the extended, general principle of relativity, there seems to be a consensus that the special principle of relativity is absolutely clear and unproblematic. However, a closer look at the literature on relativistic physics reveals a more confusing picture. There is a huge variety of, sometimes metaphoric, formulations of the relativity principle, and there are different, sometimes controversial, views on its actual content. The aim of this paper (...) is to develop a precise language in order to provide a precise formulation of the principle. In view of the fact that the special relativity principle is considered as a universal meta-law, which must be valid for all physical laws in all situations, we try to keep the formalism as general as possible. The benefit of the formal reconstruction is that it makes explicit all the necessary conceptual components of the principle; it brings out many subtle details and the related conceptual problems. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In Sight and Sensibility Dominic Lopes argues that expressiveness in pictures should be analyzed on the model of the “contour” theory of musical expressiveness, according to which an “expression” need not express anything about the inner psychological states of a person. According to his “contour theory of pictorial expression,” expression by scenes and designs requires “no being to whom the expressed emotion is attributable”. However, on this account expression has lost its fundamental raison d’être, that of manifesting somebody’s actual emotional (...) states. By contrast, I argue that successful works of pictorial expression depict the way the world appears to someone when in some emotional state. Moreover, the emotional attitude thus expressed by the work is an important unifying principle for pictures, and hence an important artistic value. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Besides mechanistic explanations of phenomena, which have been seriously investigated in the last decade, biology and ecology also include explanations that pinpoint specific mathematical properties as explanatory of the explanandum under focus. Among these structural explanations, one finds topological explanations, and recent science pervasively relies on them. This reliance is especially due to the necessity to model large sets of data with no practical possibility to track the proper activities of all the numerous entities. The paper first defines topological explanations (...) and then explains why topological explanations and mechanisms are different in principle. Then it shows that they are pervasive both in the study of networks—whose importance has been increasingly acknowledged at each level of the biological hierarchy—and in contexts where the notion of selective neutrality is crucial; this allows me to capture the difference between mechanisms and topological explanations in terms of practical modelling practices. The rest of the paper investigates how in practice mechanisms and topologies are combined. They may be articulated in theoretical structures and explanatory strategies, first through a relation of constraint, second in interlevel theories, or they may condition each other. Finally, I explore how a particular model can integrate mechanistic informations, by focusing on the recent practice of merging networks in ecology and its consequences upon multiscale modelling. (shrink)