This paper contains a reconstruction and discussion of some central subjects in Nelson Goodman's philosophical work. Goodman's creative symbol-constructional philosophy concerns fundamental aspects of human cognition and practice. It is argued that this provides us with the intellectual tools for constructing a genuine relationship between logic, knowledge, art, and understanding. This is shown by focusing on subjects ranging from the projectibility of predicates and nominalistic mereology to constructive relativity, ways of worldmaking and a general theory of symbols.

This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, but also (...) to foundational questions about what makes it the case that depictions have the syntactic and semantic properties they do. (shrink)

By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.

Hilary Putnam and Nelson Goodman are two of the twentieth century's most persuasive critics of metaphysical realism, however they disagree about the consequences of rejecting metaphysical realism. Goodman defended a view he called irrealism in which minds literally make worlds, and Putnam has sought to find a middle path between metaphysical realism and irrealism. I argue that Putnam's middle path turns out to be very elusive and defend a dichotomy between metaphysical realism and irrealism.

In a famous critique, Goodman dismissed similarity as a slippery and both philosophically and scientifically useless notion. We revisit his critique in the light of important recent work on similarity in psychology and cognitive science. Specifically, we use Tversky’s influential set-theoretic account of similarity as well as Gärdenfors’s more recent resuscitation of the geometrical account to show that, while Goodman’s critique contained valuable insights, it does not warrant a dismissal of similarity.

In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman’s own theory, but any broadly type versus token based account of notational structure. Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other (...) notational item. Such a view is strongly supported by the completely conventional relation between inscriptions and notation, as shown by encryption techniques etc. (shrink)

In a famous critique, Goodman dismissed similarity as a slippery and both philosophically and scientifically useless notion. We revisit his critique in the light of important recent work on similarity in psychology and cognitive science. Specifically, we use Tversky’s influential set-theoretic account of similarity as well as Gärdenfors’s more recent resuscitation of the geometrical account to show that, while Goodman’s critique contained valuable insights, it does not warrant a dismissal of similarity.

A challenger of traditions and boundaries A pivotal figure in 20th-century philosophy, Nelson Goodman has made seminal contributions to metaphysics, epistemology, aesthetics, and the philosophy of language, with surprising connections that cut across traditional boundaries. In the early 1950s, Goodman, Quine, and White published a series of papers that threatened to torpedo fundamental assumptions of traditional philosophy. They advocated repudiating analyticity, necessity, and prior assumptions. Some philosophers, realizing the seismic effects repudiation would cause, argued that philosophy should retain the (...) familiar framework. Others considered the arguments compelling, but despaired of doing philosophy without the framework. Goodman disagreed with both factions. Rather than regretting the loss of structure, he capitalized on the opportunities that arise when the strictures of tradition are loosened. (shrink)

In Between the Absolute and the Arbitrary, Catherine Z. Elgin maps a constructivist alternative to the standard Anglo-American conception of philosophy's ...

Several philosophical problems are based on an analogy between a real situation and a probabilistic model. Such problems are based on urn analogies. The present dissertation aims to describe and implement a methodology oriented towards the resolution of philosophical problems based on an urn analogy. This methodology is based on the use of the n-universes. To this end, I describe first the n-universes in a detailed way. I also discuss the difficulties of the theory of n-universes related to the demultiplication (...) of the criteria and to the relation one/many between the objects and a given criterion. On the one hand, I present an application of the framework of n-universes to the Doomsday argument and to the problems recently appeared in the literature in keeping with the Doomsday argument. My concern is also with showing how the application of the framework of n-universes to several problems and thought experiments related to the Doomsday argument helps clarifying the problem data and making disappear the associated ambiguity. I present then an analysis of the following problems related to the Doomsday argument: the two urn case, God's Coin Toss, the Sleeping Beauty Problem, the Presumptuous Philosopher, Lazy Adam, and the Shooting-Room Paradox. I present lastly a solution to the Doomsday argument, based on a third route, by contrast to two types of solutions classically described. On the other hand, I present an application of the framework of n-universes to Goodman's paradox. I replace first Goodman's statement in the framework of n-universes. I propose then a solution to the paradox, based on a distinction between two different modelizations of Goodman's statement in two structurally different n-universes. (shrink)

n-universe the variables of which are colour and time; (ii) in an n-universe the variables of which are colour, time and space. Finally, I show that each of these versions admits a specific resolution.

Goodman's most important contribution to philosophy seems to be his analysis of the relation between facts of science and fictions of art. His view can be seen as a kind of complementary pluralism. That is to say, science and art are two complementary forms of achieving cognition. This position overcame the positivistic view (of his teacher Carnap) according to which the value of art is restricted to the non-cognitive function of expressing emotions. In this paper I compare some of Goodman's (...) fundamental ideas – especially his central conception of exemplification – with their counterparts in Baumgarten, Kant, and Cassirer. Based on this comparison I argue against the tendency to regard analytic and continental philosophy as two completely separated traditions. (shrink)

The visual system is persistent, inventive, and sometimes rather perverse in building a world according to its own lights; the supplementation is deft, flexible, and often elaborate. [JL: Our eyes/consciousness could “fill in” things that are not there; they can also delete things that are there].

Israel Scheffler and others have had trouble accepting such drastic theses in my work as that worlds, even old ones, are made by right versions, even new ones, and that two conflicting versions may both be right. But further explication shows how such theses have advantages over the more usual common-sense alternatives.

Knowing and Making 1. Obstacles to Knowing The theory of knowledge to be sketched here rejects both absolutism and nihilism, both unique truth and the ...

Essays discuss cognition, perception, art, science, truth, metaphor, education, philosophy, and cognitive psychology.

In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims.

Required reading at more than 100 colleges and universities throughout North America.

The distinction between analytic and synthetic propositions, and with that the distinction between a priori and a posteriori truth, is being abandoned in much of analytic philosophy and the philosophy of most of the sciences. These distinctions should also be abandoned in the philosophy of mathematics. In particular, we must recognize the strong empirical component in our mathematical knowledge. The traditional distinction between logic and mathematics, on the one hand, and the natural sciences, on the other, should be dropped. Abstract (...) mathematical objects, like transcendental numbers or Hilbert spaces, are theoretical entities on a par with electromagnetic fields or quarks. Mathematical theories are not primarily logical deductions from axioms obtained by reflection on concepts but, rather, are constructions chosen to solve some collection of problems while fitting smoothly into the other theoretical commitments of the mathematician who formulates them. In other words, a mathematical theory is a scientific theory like any other, no more certain but also no more devoid of content. (shrink)