This book constitutes the strictly refereed post-workshop proceedings of the 11th International Workshop on Computer Science Logic, CSL '97, held as the 1997 Annual Conference of the European Association on Computer Science Logic, EACSL, in Aarhus, Denmark, in August 1997. The volume presents 26 revised full papers selected after two rounds of refereeing from initially 92 submissions; also included are four invited papers. The book addresses all current aspects of computer science logics and its applications and thus presents (...) the state of the art in the area. (shrink)

Considering the absence of any ancient systematic approach to the reading of the novel, this paper turns to ancient dream hermeneutics as a valuable field of reference that can provide the theoretical framework for studying the ancient novel within its own cultural context. In introducing dream interpretation as one of the ancient novel's creative sources, this essay focuses on Apuleius' Metamorphoses. It explores the dream logic in Apuleius' novel by turning to such authorities as Heraclitus, Plato, (...) Cicero, Artemidorus, and Macrobius, whose characterization of the phenomenon of dreaming sheds light on specific narratological trtaits of the Metamorphoses. It argues that the lower dream category, the insomnium , provides a notion of textuality that can clarify the traditional status of the Metamorphoses as a marginal work of art. In contrast to divinely sent symbolic dreams, it is primarily the insomnium—conceived as a by-product of the lower functions of the soul—that lends psychological force to Apuleius' fiction. (shrink)

The world, or worlds, in which we live, contain symbols as well as real objects. We use symbols both to refer to real objects and to speak of fictions (as in works of art, games, rituals, or dreams). In this paper, I will introduce some elements for a semantic approach to fiction. I will depart from an inscriptional theory of fiction, and will apply this theory to different fields, covering myths, dreams and works of art. Many of the ideas I (...) advance here are inspired by the philosophy of Nelson Goodman. However, in this paper I will extend to myths and dreams some ideas he applies only to the arts. Scheffler's idea of mention - selection which he introduced for the treatment of fictions and applied also to ritual practices will be a resource in the development of my approach. I use some conceptual tools to gain a better understanding of Freud's treatment of dreams, taking into account Wittgenstein's criticism of psychoanalysis. In the final section of this paper, I will evaluate some alternatives to the proposal developed here, so we can best appreciate the advantages of the semantic approach, or at least how it can complement the pragmatic approach. (shrink)

: This essay is an attempt to see how some of Galison's ideas and analyses look from the vantage of art history. If there's to be dialogue between the history of science and the history of art, it will be necessary to find historically recognizable senses for words like "logic" and "homologous." I also propose how Galison's kinds of images might fit into larger classifications of images known to the history of art.

The essentials of Aristotelian logic in brief, with exercises.

Is there progress in art? The question is one which most people would answer vehemently in the negative without giving it much thought. And yet, how is one to account for changes in artistic style? And what is one to think about modern art, which still seems baffling to many in comparison with traditional figurative art? Suzi Gablik's challenging argument is that art, like science, has a history, order and structure which can be called progressive. Progress, however, is not a (...) question of moral or esthetic improvement but involves a cognitive 'growth' of artistic styles and is related to transformations in modes of thinking. The model used for the argument is based on principles of developmental psychology advanced by the famous and revolutionary Swiss experimental psychologist Jean Piaget. By demonstrating the way in which art is linked with the acquisition of stages of development: increasingly complex perceptual and logical structures lead to mental organizations which are increasingly dominated by scientific, rationalistic and conceptual modes of thinking in contrast to earlier more mystical ones. In this light, an attempt is made to explain the shift in art from figurative or iconic representation, where the image resembles the object to which it refers, towards non-representational art which is abstract and conceptual in organization. Three sections of illustrations demonstrate, through revealing juxtapositions, the course of artistic development from ancient and medieval times, through the Renaissance, to contemporary art. -- from dust jacket. (shrink)

Is there progress in art? The question is one which most people would answer vehemently in the negative without giving it much thought. And yet, how is one to account for changes in artistic style? And what is one to think about modern art, which still seems baffling to many in comparison with traditional figurative art? Suzi Gablik's challenging argument is that art, like science, has a history, order and structure which can be called progressive. Progress, however, is not a (...) question of moral or esthetic improvement but involves a cognitive 'growth' of artistic styles and is related to transformations in modes of thinking. The model used for the argument is based on principles of developmental psychology advanced by the famous and revolutionary Swiss experimental psychologist Jean Piaget. By demonstrating the way in which art is linked with the acquisition of stages of development: increasingly complex perceptual and logical structures lead to mental organizations which are increasingly dominated by scientific, rationalistic and conceptual modes of thinking in contrast to earlier more mystical ones. In this light, an attempt is made to explain the shift in art from figurative or iconic representation, where the image resembles the object to which it refers, towards non-representational art which is abstract and conceptual in organization. Three sections of illustrations demonstrate, through revealing juxtapositions, the course of artistic development from ancient and medieval times, through the Renaissance, to contemporary art. -- from dust jacket. (shrink)

The ancient Greeks used the term _catharsis_ for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, _Catharsis_ explores how medicine and art share common roots and pose common challenges. The process of diagnosis, for instance, belongs to a world of magic (...) and metaphor; the physician must embrace it like a poem or painting, with particular alertness and keen receptivity. Speculation on ways to slow aging through genetics, meanwhile, draws directly on the dream of immortality that artists and poets have nourished through the ages. And the concept of _catharsis_ itself has made its way from the writings of Aristotle to today's growing interest in the benefits of music to health, especially in newborns. As Szczeklik explores such subjects as the mysteries of the heart rhythm, the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. (shrink)

Knocking on Heaven's Door is the oldest human dream that seems unrealized still. Religious discourse does show the road, but it requires a blind faith in return. In this book logicians try to hear Heaven's Call and to analyze religious discourse. As a result, the notion of religious logic as a part of philosophical logic is introduced. Its tasks are (1) to construct consistent logical systems formalizing religious reasoning that at first sight seems inconsistent (this research is (...) fulfilled within the limits of modal logic, paraconsistent logic and many-valued logic), (2) to carry out an illocutionary analysis of religious discourse (this research is fulfilled in frames of illocutionary logics), and (3) to formalize Ancient and Medieval logical theories used in the theology of an appropriate religion (they could be studied within the limits of unconventional logics, such as non-monotonic logics, non-well-founded logics, etc.). (shrink)

This book presents the current state of the art regarding the application of logical tools to the problems of theory and practice of lawmaking. It shows how contemporary logic may be useful in the analysis of legislation, legislative drafting and legal reasoning concerning different contexts of lawmaking. Elaborations of the process of lawmaking have variously emphasised its political, social or economic aspects. Yet despite strong interest in logical analyses of law, questions remains about the role of logical tools in (...) lawmaking. This volume attempts to bridge that gap, or at least to narrow it, drawing together some important research problems-and some possible solutions-as seen through the work of leading contemporary academics. The volume encompasses 20 chapters written by authors from 16 countries and it presents diversified views on the understanding of logic (from strict mathematical approaches to the informal, argumentative ones) and differentiated choices concerning the aspects of lawmaking taken into account. The book presents a broad set of perspectives, insights and results into the emerging field of research devoted to the logical analysis of the area of creation of law. How does logic inform lawmaking? Are legal systems consistent and complete? How can legal rules be represented by means of formal calculi and visualization techniques? Does the structure of statutes or of legal systems resemble the structure of deductive systems? What are the logical relations between the basic concepts of jurisprudence that constitute the system of law? How are theories of legal interpretation relevant to the process of legislation? How might the statutory text be analysed by means of contemporary computer programs? These and other questions, ranging from the theoretical to the immediately practical, are addressed in this definitive collection. (shrink)

A fate similar to Kant’s sometimes befalls Hegel: the importance of their meditation on art is not always given its full due. In Kant’s case the Critique of Judgement becomes an elaborate afterthought, filling some of the gaps left by the Critique of Pure Reason and the Critique of Practical Reason. Particularly with English-speaking commentators, Kant is read from the First Critique forwards, never also from the Third Critique backwards. Hegel, we add, did not lend himself to such a unilinear (...) reading of Kant; yet his own concern with art is frequently subject to a similar consideration. Despite the fact that Hegel unabashedly ascribes to art a certain absoluteness, his reflections on art tend not to be placed close to the core of his philosophy as a whole. As in commentaries on Kant, so also with Hegel: towards the end of involved exegeses, we get a quick run-through of their aesthetic views, as if both too did write on these matters, yet somehow in a not central way. Art comes after the hard work is done, it does not shape their thought from the beginning. We may marvel at the astonishing breadth of culture displayed by Hegel’s Lectures on Aesthetics, all the more surprising, given Hegel’s reputation as an unbending rationalist. In them we may find many rich reflections on art’s significance. Yet these tend to be detached from the general principles of Hegel’s philosophy, and praised or criticized in isolation. Even when due weight is given to the general principles of Hegel’s thought, and even when these principles are held to reveal something of art’s significance, the significance of art for philosophy itself tends to remain unexplored. How the art work enters intimately into Hegel’s ideal of philosophical thinking is not always entertained for the central question that it is. (shrink)

The ancient Greeks used the term catharsis for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, Catharsis explores how medicine and art share common roots and pose common challenges. The process of diagnosis, for instance, belongs to a world of magic (...) and metaphor; the physician must embrace it like a poem or painting, with particular alertness and keen receptivity. Speculation on ways to slow aging through genetics, meanwhile, draws directly on the dream of immortality that artists and poets have nourished through the ages. And the concept of catharsis itself has made its way from the writings of Aristotle to today's growing interest in the benefits of music to health, especially in newborns. As Szczeklik explores such subjects as the mysteries of the heart rhythm, the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. (shrink)

Kant criticizes Plato for his interest in positing ideas that are entirely purified from any sensible elements, but which, nonetheless, exist in some supra-sensible reality. I argue that Kant’s criticism can be repositioned and even countered if, in our assessment of Plato, we assign a wider scope of significance and greater value to the senses. In order to lend focus to my article, I analyze Socrates’ presentation of what I translate as the “look of the Good” (τοῦ ἀγαθοῦ ἰδέαν, 508e) (...) in the Republic so as to show the proximity between Plato and Kant on the question of sensibility. I also draw on the Phaedo and extant literature that goes against the traditional view regarding the status of Ideas or Forms, including the Idea of the Good. I further discuss an affinity between the Good that is “beyond being” (ἐπέκεινα τῆς οὐσίας, 509c) in the Republic and Kant’s view of God as an Ideal of Reason. Given my articulation of the importance of the sensible dimension in Plato, there is a continuity between Kant and Plato on the question of the illegitimacy of certain ideas. In other words, in my reading (and contrary to Kant’s view of Plato), Kant does not so much overturn Plato’s metaphysics, but develops further the view that is already inscribed in Plato. (shrink)

1. There is an important argument which can be traced back to Kant's second and third Critiques , and which has been defended by a number of distinguished modern philosophers.1 It goes as follows. Moral judgments are universalizable; that is, I am logically committed to making the same moral judgment about all relevantly similar cases. If I refuse to make the same moral judgment about two relevantly similar cases, then either I believe that they are relevantly different, or I have (...) changed my moral views between examining the first case and examining the second, or I am simply irrational and not a proper subject for discussion. In contrast, however, aesthetic judgments are not universalizable; works of art are necessarily unique. If I say that a painting is aesthetically pleasing or successful or important or striking or whatever, I am not committed to making the same judgment about any relevantly similar work. Occasionally no doubt I might make the same judgment about a relevantly similar work, but I am in no way logically committed to doing so. Indeed in certain cases—the cases which are the topic of this paper—I am logically committed to making an entirely different aesthetic judgment of a relevantly similar work. Since works of art are necessarily unique, copies, fakes, forgeries, pastiches and ‘works in the style of …’, however plausible, however skilful, however close to the original, can never have the same aesthetic merit. Even if my Athena print of a Canaletto were qualitatively identical with the original, it could not have the same aesthetic merit. Even if a modern symphony reproduced perfectly the style of Mozart and even if it were in general of comparable musical quality, it could not have the same aesthetic merit as the forty-one originals. (shrink)

Nelson Goodman (1906-1998) was one of the outstanding thinkers of the 20th century. In a memorial note, Hilary Putnam considers him to be ""one of the two or three greatest analytic philosophers of the post-World War II period"". Goodman has left his mark in many fields of philosophical investigation: Epistemology, Philosophy of Science, Logic, Metaphysics, the General Theory of Symbols, Philosophy of Languageand Philosophy of Art, all have been challenged and enriched by the problems he has shown up, the (...) projects he developed from them and the solutions he has suggested. In August 2006 a coup. (shrink)

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.

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

This volume contains twelve previously published essays, dealing with non-formal modes of inference, with some specifically logical issues, with language and symbolic representation, with Goodman, Chomsky, and Skinner. In the first, "Reasonableness," we are told that "it would be heroic folly to aspire to be reasonable in all situations," and that reasonableness turns out to be "a somewhat humdrum, pedestrian virtue, involving... a problematic calculation of probabilities and expected values in situations of inescapable fallibility." Still, we are happily told that (...) "in a situation in which it is uncertain which action to take, an action is reasonable if there is some sufficient reason to take it, and no better reason to choose one of the alternatives.". (shrink)

Important philosophical volume by foremost architectural conceptualist emphasizes organic design, interrelated study of all arts. He provides introductory, retrospective, and prospective analysis, explores the creative instinct, organic order, form and vitality, form and time, form and logic, form and function, the dogmatic, mechanized, and the creative mind, and more.

Aim: The aim of this paper is to present the development and evaluation of an art psychotherapy brief treatment method for complex depression for patients referred to mental health services.Background: Art Psychotherapy literature describes a range of processes of relational change through the use of arts focused and relationship focused interventions. Complex depression has a prevalence of 3% of the population in the West and it is recorded that in 2016 only 28% of that population were receiving psychological treatment. This (...) study was developed to test the hypothesis of whether an accessible and acceptable approach to the treatment of complex depression could be developed in relation to existing evidence-based practice within mental health services.Method: The United Kingdom Medical Research Council phased guidance for complex intervention development was used to develop the intervention. The process included producing a literature overview, systematic description of clinical practice, including a logic model and a clinical protocol. The art psychotherapy protocol described an arts-based dynamic interpersonal therapy approach, offered 1:1 over 24 sessions. Further to this the intervention was tested for referrer acceptability. The intervention is in the early stages of evaluation, using changes to the patient's depression and anxiety measured pre- and post-treatment with a follow-up measure at 3 months following completion of treatment.Results: Phase I of the study provided a good basis for developing a logic model and protocol. The authors found that there was good clinical consensus about the use of a structured clinical art psychotherapy method and the literature overview was used to support specific examples of good practice. The verification of clinical coherence was represented by a logic model and clinical protocol for delivering the intervention. The acceptability study demonstrated very high levels of acceptability for referrers reporting that ADIT was acceptable for patients with complex/major depression, that they were likely to refer to ADIT in the future that the use of arts was likely to improve accessibility the use of arts was likely to improve outcomes and that offering ADIT was an effective use of mental health resources.Discussion: Phase I of this intervention development study demonstrated theoretical and practice coherence resulting in a clinical protocol and logic model. Whilst Phase II of this study showed promising results, Phase II would need to be sufficiently scaled up to a full trial to further test the intervention and protocol. (shrink)

While contemporary feminist philosophical discussions focus on the oppressiveness of universality which obliterates “difference,” the complete demise of universality might hamper feminist philosophy in its political project of furthering the well-being of all women. Dewey's thoroughly functionalized, relativized, and fallibilized understanding of universality may help us cut universality down to size while also appreciating its limited contribution. Deweyan universality may signify the ongoing search for a genuinely common language in the midst of difference.

While contemporary feminist philosophical discussions focus on the oppressiveness of universality which obliterates "difference," the complete demise of universality might hamper feminist philosophy in its political project of furthering the well-being of all women. Dewey's thoroughly functionalized, relativized, and fallibilized understanding of universality may help us cut universality down to size while also appreciating its limited contribution. Deweyan universality may signify the ongoing search for a genuinely common language in the midst of difference.