Online research in philosophy

Parallels between the mathematics of tiling, which describes geometries of visual space, and neo-Riemannian theory, which describes geometries of musical space, make it possible to show that certain paradoxes featured in the visual artworks of M. C. Escher also appear in the pitch space modelled by the neo-Riemannian Tonnetz . This article makes these paradoxes visually apparent by constructing an embodied model of triadic pitch space in accordance with principles drawn from the mathematics of tiling, on the one hand, and (...) from cognitive science, on the other – specifically, the notion that our experience of pitch relationships is governed in part by the metaphorical projection of patterns abstracted from embodied experience known as image schemas. These paradoxes are illustrated with reference to passages drawn from four compositions to whose expressive character such paradoxes contribute: the fifteenth-century motet 'Absalon fili mi'; the finale of Haydn's String Quartet in G major, Op. 76 No. 1; Brahms's Intermezzo in B minor, Op. 119 No. 1; and Wagner's Parsifal. (shrink)

Throughout history, almost all mathematicians, physicists and philosophers have been of the opinion that space and time are infinitely divisible. That is, it is usually believed that space and time do not consist of atoms, but that any piece of space and time of non-zero size, however small, can itself be divided into still smaller parts. This assumption is included in geometry, as in Euclid, and also in the Euclidean and non- Euclidean geometries used in modern physics. Of the few (...) who have denied that space and time are infinitely divisible, the most notable are the ancient atomists, and Berkeley and Hume. All of these assert not only that space and time might be atomic, but that they must be. Infinite divisibility is, they say, impossible on purely conceptual grounds. (shrink)

Visual space can be distinguished from physical space. The ?rst is found in visual experi- ence, while the second is de?ned independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non- Euclidean, and that it does not have a single metric structure. Here it is argued (1) that visual space exhibits contraction in all three dimensions with increasing distance from the observer, (2) that experienced features of this contraction (including (...) the apparent convergence of lines in visual experience that are produced from physically parallel stimuli in ordinary viewing con- ditions) are not the same as would be the experience of a perspective projection onto a fronto- parallel plane, and (3) that such contraction is consistent with size constancy. These properties of visual space are di?erent from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal cor- respondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s. (shrink)