It is a tradition to express overall structures in the lexicon of a language by classifying its words according to their formal as well as to their semantic properties. The problem treated here is how formal and semantic word classes relate to each other. The problem will first be discussed on a general level. Then some results of an empirical study on the lexicon of space in French will be presented. It will be shown how the concept of ‘region’ is (...) distributed across the parts of speech of that language. The study confirms and specifies the current assumption that there are typical relationships between formal word classes and concept types, but it also raises the question of what happens within the domain of atypical lexicalization. (shrink)
We study the matrices, reduced matrices and algebras associated to the systems SAT of structural annotated logics. In previous papers, these systems were proven algebraizable in the finitary case and the class of matrices analyzed here was proven to be a matrix semantics for them.We prove that the equivalent algebraic semantics associated with the systems SAT are proper quasivarieties, we describe the reduced matrices, the subdirectly irreducible algebras and we give a general decomposition theorem. As a consequence we obtain a (...) decision procedure for these logics. (shrink)
Annotated logics were introduced by V.S. Subrahmanian as logical foundations for computer programming. One of the difficulties of these systems from the logical point of view is that they are not structural, i.e., their consequence relations are not closed under substitutions. In this paper we give systems of annotated logics that are equivalent to those of Subrahmanian in the sense that everything provable in one type of system has a translation that is provable in the other. Moreover these new systems (...) are structural. We prove that these systems are weakly congruential, namely, they have an infinite system of congruence 1-formulas. Moreover, we prove that an annotated logic is algebraizable (i.e., it has a finite system of congruence formulas,) if and only if the lattice of annotation constants is finite. (shrink)
In  the authors proved that the deductive systemP1 introduced by Sette in  is algebraizable. In this paper we study the main features of the class of algebras thus obtained. The main results are a complete description of the free algebras inn generators and that this is not a congruence modular quasi-variety.
You and I are watching a spider crawl across the carpet. We are both aware of the spider, and aware that both are so aware. We are jointly attending to it. This collection of essays addresses a bewildering array of questions that arise regarding the notion of joint attention. How should joint attention be characterised in adults? In particular, how can we articulate the sense in which it is plausible to say that nothing is hidden from either participant in cases (...) of joint attention? What is the relationship between joint attention and the much discussed phenomenon of common, or mutual, knowledge? What account should be given of the development of the capacity for joint attention in children (and in non-human primates)? At what age is it correct to say that children are engaging in episodes of full blown joint attention? Relatedly, what is the relation between joint attention and pointing behaviour, gaze following and mutual affect regulation? Why is it that autistic children appear to exhibit a joint attention deficiency, and what might this tell us about autism, or about joint attention itself? Does the capacity for joint attention presuppose an understanding of the notion of attention, or more generally a subject of experience, and if so what is the relation between that understanding and the types of behaviour associated with joint attention? More generally, how does joint attention relate to our understanding of others? Finally, is the capacity for joint attention pivotal for the development of linguistic communication, or perhaps even a sense of objectivity—of the mind independence of the world? (shrink)
Virtue epistemology is faced with the challenge of establishing the degree to which a knower’s cognitive success is attributable to her cognitive ability. As Duncan Pritchard notes, in some cases one is inclined to a strong version of virtue epistemology, one that requires cognitive success to be because of the exercise of the relevant cognitive abilities. In other cases, a weak version of virtue epistemology seems preferable, where cognitive success need only be the product of cognitive ability. Pritchard’s preference, with (...) his anti-luck virtue epistemology, is for the latter. But as Christoph Kelp has recently argued, this preference is not without controversy. Notably, Kelp argues that Pritchard on the basis of his anti-luck virtue epistemology is impelled to cast the wrong judgment in a case that Pritchard himself discusses many times in his writings, the so-called ‘Temp case’. Though Pritchard argues that Temp lacks knowledge because his cognitive success is not a result of his cognitive ability, I concur with Kelp that Pritchard’s epistemology should in fact attribute knowledge to Temp, and show this by locating weaknesses in three distinct arguments Pritchard uses to show that Temp lacks knowledge. I subsequently argue that if Pritchard wishes to persist in denying knowledge to Temp, he should endorse what I call the ‘true description’ requirement. I close the paper by providing an argument for this requirement, controversial though it is. (shrink)
The 1990 Visual Artists Rights Act (VARA) is a provision of U.S. copyright law that seeks to protect the noneconomic rights of artists, called "moral rights." These rights are due to the "presumed intimate bond between artists and their works."1 In the United States it protects rights of artistic attribution and integrity: the artwork cannot be claimed as the work of another, and it cannot be distorted. In some cases VARA protects artworks from destruction. But what is the nature of (...) this intimate bond? The underlying principle behind the legal construct of artistic moral rights is that the artwork is an extension of its creator such that any harm to the work is a violation of the personhood of the artist.2 Another .. (shrink)