Ruth Millikan has long argued that the phenomenon of confused thought requires us to abandon certain traditional programmes for mental semantics. On the one hand she argues that confused thought involves confused concepts, and on the other that Fregean senses, or modes of presentation, cannot be useful in theorizing about minds capable of confused thinking. I argue that while we might accept that concepts can be confused, we have no reason to abandon modes of presentation. Making sense of (...) confused thought requires recognizing modes of presentation. (shrink)
Alexius Meinong's specific use of the term "self-presentation" had a significant influence on modern epistemology and philosophical psychology. To show that there are remarkable parallels between Meinong's account of the self-presentation of experiences and Lehrer's account of the exemplarization of experiences is one of this paper's main objectives. Another objective is to put forward some comments and critical remarks to Lehrer's approach. One of the main problems can be expressed by the following: The process of using a particular (...) experience as a sample, that is, an exemplar that we use to stand for and refer to a plurality of experiences, Lehrer calls "exemplarization". As concrete experiences are multifarious (red and round, for example), how can we single out a specific sort of experiences (the red ones) by the process of exemplarization when we use such a multifarious experience as a sample? (shrink)
The use of digital presentation tools such as PowerPoint is ubiquitous; however we still do not know much about the persuasiveness of these programs. Examining the use of visual analogy and visual chronology, in particular, this article explores the use of visual argumentation in a Keynote presentation by Al Gore. It illustrates how images function as an integrated part of Gores reasoning.
J’appelle « présentation esthétique » le fait, pour un artiste, de présenter certaines conditions ou certains moyens de son art dans les formes même de son art, de manière sensible (« esthétique ») et non pas discursive. Dans certaines œuvres, le musicien présente esthétiquement certains instruments de musique : l’instrument n’est plus seulement au service de la musique, il est mis en avant pour lui-même. La musique devient alors l’instrument de son instrument. J’analyse de ce point de vue les Six (...) Concerts à plusieurs instruments de Jean-Sébastien Bach et la série des seize Sequenze de Luciano Berio. Mais la distinction entre « utiliser » simplement un instrument et le « présenter » n’est pas simple. Il est difficile d’utiliser un instrument sans le présenter au moins tendanciellement, et impossible de le présenter sans l’utiliser. L’attention esthétique de l’auditeur a aussi sa part dans ce processus. (shrink)
Does work psychodynamics--a sub-discipline of clinical psychology in the field of work sciences--offer a relevant methodological reference to analyze the psychological processes that come into play when a CEO is working? The objective of this article is to propose an answer to this question by going back to a doctoral research, which focused on the clinical analysis of the CEOs' "presentation of self," noted as one aspect of their work. The author's arguments for a clinical approach are presented as (...) well as the later decision to resort to "astute" tactics that, beyond the traditional frameworks of work psychodynamics, were required to have access to the CEOs' presentation of self. Following the presentation of the research's achievements, the article shows that, while methodologically unconventional, the astute tactics proved useful in ushering in new elements of knowledge that otherwise would have remained inaccessible. Notably, the specifics of the intersubjective relationship that was established between the author and each CEO had a major positive impact on the interpretations. To legitimize this clinical approach further, the conclusion draws a few indications on criteria that could be investigated to scientifically validate the qualitative methods and their interpretive results. (shrink)
of my axiomatic theory of abstract objects.<sup>1</sup> The theory asserts the ex- istence not only of ordinary properties, relations, and propositions, but also of abstract individuals and abstract properties and relations. The.