This article addresses issues in the philosophy of fiction from the perspective of a relevance theoretic approach to communication: first, how should we understand the notion of ‘voice’ as it is used in the analysis of free indirect style narratives; and, second, in what sense can the person responsible for free indirect representations of fictional characters' thoughts be regarded as a communicator? The background to these questions is the debate about the roles of pretence and attribution in free indirect style. (...) I argue that the role of expressives in sustaining the illusion that fictional characters speak their inner thoughts suggests that ‘voice’ should be understood in two distinct ways. On the one hand, there are cases in which the use of expressive devices leads to the formation of thoughts which are understood to resemble other (attributed) thoughts. On the other hand, there are other cases in which expressives are used as a means of simulating a fictional character's behaviour or style. At the same time, I argue that in order to accommodate free indirect thought representation in a relevance theoretic model of communication, the responsibility for ensuring that the effort of processing the text will be rewarded by optimal relevance must be decoupled from the point of view that is being represented. While the (constructed) author is responsible for orchestrating our interpretation of free indirect thought representations so that the effort of processing will result in optimal relevance, the reader does not necessarily assume this function is being performed by someone who intends to communicate their own thoughts: the relevance of the act of narration may instead lie in the sense of mutuality achieved between reader and character. (shrink)

Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: how do paintings depict? And how do they express feelings? In this collection of essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. Among the (...) themes under discussion are Wollheim's explanation of pictorial representation in terms of seeing-in, his views of artistic expression as a type of complex projection, and his notion of the internal spectator. In the final essay Wollheim himself responds to the contributors. This book will be eagerly sought out by all serious students of the theory of art, whether in departments of philosophy or art history. (shrink)

Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: How do paintings depict? and how do they express feelings? In this collection of new essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. Among (...) the themes under discussion are Wollheim's explanation of pictorial representation in terms of seeing-in, his views of artistic expression as a type of complex projection, and his notion of the internal spectator. In the final essay Wollheim himself responds to the contributors. This book will be eagerly sought out by all serious students of the theory of art, whether in departments of philosophy or art history. (shrink)

A collection of essays on Wollheim's philosophy of art; includes a response from Wollheim himself.

Despite increased focus on emotional language, research lacks for the most emotional language: Swearing. We used event-related potentials to investigate whether swear words have content dist...

Beyond Subjectivity and Representation extensively explores a connection in the thinking of Nietzsche, Heidegger, and Merleau-Ponty in relation to the interconnections among perception, creation, truth, and value in a way that allows the work of each author to shed light upon the others' ideas. Deborah Carter Mullen develops a non-dualistic notion of truth and value rooted in embodied, earthly existence, and considers them as ongoing happenings of metamorphosis rather than as static ideas. This idea of metamorphosis leads to an (...) understanding of the relationships among self, other, and world as temporal happenings of the flesh. In an intertwining relationship with one another, I and other, I and world, past, present, and future are considered occurrences of the moment that are redefined in each perception and in each expression, as each questions and responds to the other, creating a "mirror-play of flesh." Mullen proposes that reversibility and metamorphosis give rise to an aesthetic sense of truth and values that are not absolute, but truths that happen as they are expressed and values that occur as they are lived. (shrink)

The papers collected in this volume exemplify some of the trends in current approaches to logic, language and computation. Written by authors with varied academic backgrounds, the contributions are intended for an interdisciplinary audience. The first part of this volume addresses issues relevant for multi-agent systems: reasoning with incomplete information, reasoning about knowledge and beliefs, and reasoning about games. Proofs as formal objects form the subject of Part II. Topics covered include: contributions on logical frameworks, linear logic, and different approaches (...) to formalized reasoning. Part III focuses on representations and formal methods in linguistic theory, addressing the areas of comparative and temporal expressions, modal subordination, and compositionality. (shrink)

I reply to criticisms from King and Soames and critically examine two aspects of current orthodoxy about propositions: that they are representational and that they are structured. I argue that (especially once one gives up on intrinsically representational propositions) there is no good reason to think that propositions have representational properties, and distinguish a few different senses in which propositions might be structured, expressing some skepticism about the more ambitious ones.

Many have urged that the biggest obstacles to a physicalistic understanding of consciousness are the problems raised in connection with the subjectivity of consciousness. These problems are most acutely expressed in consideration of the knowledge argument against physicalism. I develop a novel account of the subjectivity of consciousness by explicating the ways in which mental representations may be perspectival. Crucial features of my account involve analogies between the representations involved in sensory experience and the ways in which pictorial representations exhibit (...) perspectives or points of view. I argue that the resultant account of subjectivity provides a basis for the strongest response physicalists can give to the knowledge argument. (shrink)

The on-going debate over the ‘admissible contents of perceptual experience’ concerns the range of properties that human beings are directly acquainted with in perceptual experience. Regarding vision, it is relatively uncontroversial that the following properties can figure in the contents of visual experience: colour, shape, illumination, spatial relations, motion, and texture. The controversy begins when we ask whether any properties besides these figure in visual experience. We argue that ‘ensemble properties’ should be added to the list of visually admissible properties. (...) Ensemble properties are features that belong to a set of perceptible objects as a whole as opposed to the individuals that constitute that set. They include such features as the mean size of an array of shapes or the average emotional expression of an array of faces. Recent work in vision science has yielded compelling evidence that the visual system routinely encodes such properties. We argue that epistemological considerations provide strong reasons to think that these properties figure in visual experience. Judgements about ensemble properties are immediately warranted by our perceptual experience, and the only plausible way that a perceptual experience could confer this warrant is if it confers awareness of ensemble properties. (shrink)

This paper examines the views of a philosophical aesthetician who was sympathetic to psychology: Richard Wollheim. It is divided into three parts. The first gives an account of Wollheim’s views on pictorial representation: on ‘seeing-in’, ‘expressive perception’ and ‘visual delight’. The second part discusses the relation between philosophy and psychology. If we regard the first as dealing with constitutive questions, and the second dealing with causal questions, it looks as if they are separate enquiries. However, there are circumstances where (...) the latter looks as if it will inform the former. Wollheim’s view on this issue varied; sometimes he regarded the enquiries as separate, and sometimes not. The third part argues that it is unlikely that psychology will be able to illuminate Wollheim’s views on pictorial representation, and expresses scepticism about the extent to which research on visual preferences has a bearing on aesthetics. (shrink)

This dissertation examines the general problem of how to give a philosophical account of the nature of representation by looking at three specific philosophies of language and the philosophic treatment of fictional discourse. I argue that Edmund Husserl, Ludwig Wittgenstein, and J. L. Austin all try to give accounts of meaning by arguing for what I call a "closure of meaning" in language. The closure thesis is the claim that some set of criteria can exhaustively determine the ways in (...) which language can be meaningful. This thesis is implicit in Husserl's theory of expressive meaning in the Logical Investigations, in Wittgenstein's picture theory, and in J. L. Austin's pragmatic account of meaning in speech act theory. My general thesis is that the three philosophers in question do not successfully defend the closure thesis for linguistic representation. Since fictional discourse is a source of counterexamples to the closure thesis, I look specifically at two recent philosophical accounts of fiction by David Lewis and John Searle. I criticize these attempts to account for fictional discourse within referential and pragmatic theories of language. Since such attempts are usually part of a closure thesis, my discussion of fiction provides further reasons for doubting the general possibility of accounting for a closure of meaning in language. (shrink)

A model is presented that addresses both the distribution and comprehension of different forms of referring expressions in language. This model is expressed in a formalism (Kamp & Reyle, 1993) that uses interpretive rules to map syntactic representations onto representations of discourse. Basic interpretive rules are developed for names, pronouns, definite descriptions, and quantified descriptions. These rules are triggered by syntactic input and interact dynamically with representations of discourse to establish reference and coreference. This interaction determines the ease with which (...) coreference can be established for different linguistic forms given the existing discourse context. The performance of the model approximates that observed in studies of intuitive judgments of grammaticality and studies using online measures of language comprehension. The model uses the same basic interpretive mechanisms for coreference within and between sentences, thereby linking the domain traditionally studied by generative linguists to domains that have been of concern primarily to psychologists and computational linguists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Representation and the Nation-State in Romantic Belgium (1830–1850)Jo TollebeekThe transformation of the Ancien Régime society of estates into the modern state system as it exists in Europe today was concluded during the “long nineteenth century.” This process of transformation came about in two waves. In a first wave—during the decades preceding and following the French Revolution, roughly the years 1780-1848—the framework for the nation-state was created. It (...) was mainly the liberal bourgeoisie which stood at the forefront. After the Congress of Vienna, where the “ante bellum” situation had been restored, it led more or less successful national revolutions in Germany, Italy, Spain, Belgium, and Poland. In a second wave, starting with the Franco-Prussian War of 1870 and ending with the First World War, the framework of the nation-state was filled in. In those years a growing number of social groups found accommodation in the liberal house, which they also managed thoroughly to rebuild. This period can be described as the phase of integrated nationalism.Together with the nation-state came the rise of modern national his-toriography. The most well-known exponents of this typically nineteenth-century genre were the monumental outlines of national pasts which started appearing from 1890 onward. Karl Lamprecht in Germany (Deutsche Geschichte, 1890–1909), Pieter Jan Blok in the Netherlands (Geschiedenis van het Nederlandsche Volk, 1892–1908), Henri Pirenne in Belgium (Histoire de Belgique, 1900–1932), and Ernest Lavisse and his collaborators in France (Histoire de France, 1901–11) all gave their respective countries’ pasts an impressive, scholarly design. The first phase of the emergence of the nation-state, however, was also ac-companied by a stream of national histories. Johannes von Müller in Switzerland (Geschichten Schweizerischer Eidgenossenschaft, 1786–1808), Simonde de [End Page 329] Sismondi in Italy (Histoire des Républiques italiennes du Moyen Age, 1807–18), Augustin Thierry in France (Lettres sur l’Histoire de France, 1820–27), and Willem Bilderdijk in the Netherlands (Geschiedenis des Vader-lands, posthumously 1833–53) all became authors of patriotic and romantically tinted surveys and studies of (fragments from) their own national history.The work of this second group of historians fits with the cultural nationalism which took root during the last decades of the eighteenth and the beginning of the nineteenth centuries and which is sometimes considered to have been the heart of romantic nationalism. 1 The supporters of this nationalism were con-vinced that culture, lifestyle, and social institutions could only be understood as the expression of the “soul,” the “spirit,” or the “character” of a people or nation. They tried to deduce this individual character through the language, popular literature, art, and “national” (as opposed to Roman) law, as is demonstrated by the Gaelic revival in Ireland. 2 History, however, also attracted their interest; the nation and the people were after all considered to be dynamic entities which developed along the lines of a multiple causal process. In England, for example, where nationalism arose as a protest against excessive foreign—French—cultural influence, a group of historians, among them Catherine Macaulay and John Pinkerton, started publishing nationalistic histories during the early years of George III’s reign, paying special attention to the origin of the English people. 3 Such cultural nationalism could, however, easily take on political overtones, especially when it was the nationalism of a people who were either stateless or dispersed throughout different states, or whose state was still young.These earliest national histories were meant as a contribution to the formation, consolidation, and confirmation of a national identity. Their writers had to lend unity, specificity, and continuity to the national past. They had to, as Novalis observed in 1798, “organize historical essentials.” 4 Their work was less a matter of reconstruction than of construction. It not only required the exploration of a hitherto unknown field, but first and foremost the resolution of new problems of representation inherent in the writing of “national biographies.” In this essay, I shall discuss some of these problems in the light of Belgian national historical writing from 1830 through 1850. The year 1830 constitutes an important watershed in the history of national movements... (shrink)

Recent archaeological theory has show that images of the past have carried a particularly strong resonance within modern social groups. This volume explores the immeasurable impact that the phenomenon of archaeology has had on the representation of the past in the modern world. Modern society’s ‘archaeological imagination’ conceives of archaeology as a producer of images of the past which become representations of modern group identities. If archaeology is utilized by public groups to construct and represent identities, then what are (...) archaeologists to do with that public? The very fact that the public is interested in the past and in archaeological research is an opportunity for archaeology to engage that public. Participation in the public’s modern interest in archaeology, however, puts archaeology at risk. The growing role of archaeology and heritage within the economics of tourism, has led to a commodification of archaeological knowledge and experience for consumption. This volume begins a discourse on the implications of performing archaeology in a world dominated by modern trends of mass production, mass replication and representation of cultural forms and mass consumption of images of the past. The contributors explore to what extent we are experiencing a crisis of representation of the past due to contemporary consumption of mass-produced replicas, simulations, images and experiences of the past. To work through this crisis the contributors in this volume are exploring opportunities for development within archaeological thought and practice. Their arguments illustrate a move towards active, participatory and poetic archaeological thought and practice. Rather than focusing on what is produced through process (artifacts, monuments, interpretive centers, etc.), they are concerned with what they are doing, about taking part, about participating reflexively in the tradition of understanding and expressing understanding of the past. This volume does not conjure up romantic beliefs about the project of archaeology, but rather, it signals a fundamental revision of archaeology - not what it is, but what it can do. (shrink)

The first part of this paper defends a 'two-factor' approach to mental representation by moving through various choice-points that map out the main peaks in the landscape of philosophical debate about representation. The choice-points considered are: (1) whether representations are conceptual or non-conceptual; (2) given that mental representation is conceptual, whether conscious perceptual representations are analog or digital; (3) given that the content of a representation is the concept it expresses, whether that content is individuated extensionally (...) or intensionally; (4) whether intensional contents are individuated by external or internal conditions; and (5) given that conceptual content is determined externally, whether the possession conditions for concepts are external or internal. The final part of the paper examines the relationship between representation and consciousness, arguing that any account of mental representation, though necessary for a complete account of consciousness, cannot be sufficient for it. (shrink)

“Utterances and thoughts have content: They represent (actual or imaginary) states of affairs.” This is the opening statement of François Recanati’s most sustained work on kinds of representation, Oratio Obliqua, Oratio Recta (2000) and it presents the core phenomenon which it is the task of the philosophy of language to explain. A primary function of language and thought, though not their only function, is to represent how things are or might be. As well as descriptively representing entities, properties, and (...) states of affairs in the world, our thoughts and utterances may metarepresent other linguistic or mental representations and to several levels of representational embedding. For a full understanding of how language represents (and metarepresents) we need to understand how each of the different kinds of expression in the language contributes to the proposition or thought expressed by a particular utterance. Over the last century, the philosophy of language has swung between two poles in addressing the representational properties of natural human language. Broadly speaking, at the one pole are those whose main focus is on the language system itself, rather than its users, and who emphasize the semantic power of the system, while at the other pole are those for whom it is speakers, specifically their mental states, and what they do with words that is fundamental. The two different orientations naturally lead to different ways of conceiving of the roles of semantics and pragmatics in language use. One manifestation of the division is the opposition between the ‘literalist’ view according to which the proposition expressed by an utterance of a sentence is entirely mandated by components of the sentence and the ‘contextualist’ view according to which what is said often goes beyond what is linguistically anchored. From his earliest work on pragmatics, specifically on speech acts and explicit performatives (1979, 1981, 1987), Recanati has taken a non-literalist position, which he has developed over the past 20 odd years, culminating in the publication of his latest book, Literal Meaning (2004a).. (shrink)

Analytical expressions for the matrices and an explicit algorithm for computing Clebsch-Gordan coupling coefficients are given forsu(4) in au(3)-coupled basis as an example of the construction for anysu(n) in au(n−1) basis. The results areinduced from the known results foru(3) by means of the vector-coherent-state (VCS) theory of induced representations. The important recent result that makes this possible is the discovery that a complete set of shift tensors for the finitedimensional representations of reductive Lie algebras can be induced, by VCS methods, (...) from those of suitably defined subalgebras. (shrink)

Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of (...) articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification. (shrink)

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

It is a commonplace that “the map is not the territory.” The phrase goes back to Alfred Korzybski, while the insight—formulated by insisting on an apparent triviality—is surely older and has received poetical expressions from Lewis Carroll and Jorge Luis Borges among others. The difference between map and territory is a difference of categories and is at the base of the representation relation. Hence maps play a prominent role in the discourse about representation which takes place in a (...) number of disciplines and from different perspectives. Three of them are of special interest for the present paper.One influential view has been put forward by historian of art Ernst Gombrich in his classical lecture on.. (shrink)

Theories of propositions as sets of truth-supporting circumstances are committed to the thesis that sentences or other representations true in all and only the same circumstances express the same proposition. Theories of propositions as complex, structured entities are not committed to this thesis. As a result, structured propositions can play a role in our theories of language and thought that sets of truth-supporting circumstances cannot play. To illustrate this difference, I sketch a theory of transparent, non-deflationary truth consistent with some (...) theories of structured propositions, but inconsistent with any theory of propositions as sets of truth-supporting circumstances. (shrink)

The aim of this study is to determine several points of reference regarding the way in which Karl Popper built up his philosophical discourse. I locate two specific ways in which Popper interpreted and used ideas belonging to other philosophers. Thus I distinguish in Popper between a projective hermeneutics and an ideological hermeneutics . In so doing I also highlight the considerable asymmetry between a representationalist hermeneutics, and a projective and, respectively, an ideological one. Whereas in the first case the (...) interpreter wishes to unveil a truth about the philosophical text, in the other two he is rather expressing a desire to talk about himself, his own beliefs and convic¬tions, or about the beliefs of his community of reference. (shrink)

Abstract:One of the models that Leibniz considered for his characteristica universalis was the Chinese script, which, after many oscillations, he ended up conceiving as a rational language. In order to explain what "rationality" means in this context, the role of symbolicity and metaphoricity in the characteristica is discussed here. Furthermore, it is argued that Leibniz' idea of a constitutive role of signs for thought led him to produce a concept of writing based not on representation but on expression, (...) in which written signs are structurally connected to the ideas they express. Taking inspiration from Rita Widmaier's metaphorological reading of Leibniz and in Kwan Tze-wan's philosophical theory of the Chinese script, it is shown how the procedures involved in the formation of sinographs shed light on the principles of the characteristica, and how, despite Leibniz' inaccurate understanding of Chinese writing as ideographic, his philosophy can still inspire contemporary research on this script. (shrink)

This article proposes a neurobiologically motivated theory of meaning as internal representation that holds on to the principle of compositionality, but negates the principle of semantic constituency. The approach builds on neurobiological findings regarding topologically structured cortical feature maps and the mechanism of object-related binding by neuronal synchronization. It incorporates the Gestalt principles of psychology and is implemented by recurrent neural networks. The semantics to be developed is structurally analogous to some variant of model-theoretical semantics. The semantics to be (...) developed is a neuro-emulative model-theoretical semantics of a first-order language. The model-theoretical semantics is merely denotational and does not imply anything about the structures of the mind or the underlying neural mechanisms that enable producing and comprehend meaningful expressions. The relation between a mental representation and its content is some form of causal-informational covariation. (shrink)

Deleuze and jurisdiction : expressionism in jurisprudence -- Personal jurisdiction : the "method of dramatization" in the law of persons -- Minority and personal jurisdiction : judging sex in re alex -- Persons of animal law -- Deleuze, the law of things and subject-matter jurisdiction -- To put to flight : the right of possession -- The activity of judgment : law of actions and the procedural genre of jurisprudence -- Jurisdiction of control : judgment and procedural forms in Thomas (...) v Mowbray -- The locality of law : jurisdiction in Deleuze. (shrink)

Knowledge Representation and Reasoning (KR&R) is based on the idea that propositional content can be rigorously represented in formal languages long the province of logic, in such a way that these representations can be productively reasoned over by humans and machines; and that this reasoning can be used to produce knowledge-based systems (KBSs). As such, KR&R is a discipline conventionally regarded to range across parts of artificial intelligence (AI), computer science, and especially logic. This standard view of KR&R’s participating (...) fields is correct — but dangerously incomplete. The view is incomplete because, as we explain herein, sophisticated KR&R must rely heavily upon philosophy. Encapsulated, the reason is actually quite straightforward: Sophisticated KR&R must include the representation of not only simple properties, but also concepts that are routine in the formal sciences (theoretical computer science, mathematics, logic, game theory, etc.), and everyday socio-cognitive concepts like mendacity, deception, betrayal, and evil. Because in KR&R the representation of such concepts must be rigorous in order to enable machine reasoning (e.g., machine-generated and machine-checked proofs that a is lying to b) over them, philosophy, devoted as it is in no small part to supplying analyses of such concepts, is a crucial partner in the overall enterprise. To put the point another way: When the knowledge to be represented is such as to require lengthy formulas in expressive formal languages for that representation, philosophy must be involved in the game. In addition, insofar as the advance of KR&R must allow formalisms and processes for representing and reasoning over visual propositional content, philosophy will be a key contributor into the future. (shrink)

Formal ontologies are nowadays widely considered a standard tool for knowledge representation and reasoning in the Semantic Web. In this context, they are expected to play an important role in helping automated processes to access information. Namely: they are expected to provide a formal structure able to explicate the relationships between different concepts/terms, thus allowing intelligent agents to interpret, correctly, the semantics of the web resources improving the performances of the search technologies. Here we take into account a problem (...) regarding Knowledge Representation in general, and ontology based representations in particular; namely: the fact that knowledge modeling seems to be constrained between conflicting requirements, such as compositionality, on the one hand and the need to represent prototypical information on the other. In particular, most common sense concepts seem not to be captured by the stringent semantics expressed by such formalisms as, for example, Description Logics (which are the formalisms on which the ontology languages have been built). The aim of this work is to analyse this problem, suggesting a possible solution suitable for formal ontologies and semantic web representations. The questions guiding this research, in fact, have been: is it possible to provide a formal representational framework which, for the same concept, combines both the classical modelling view (accounting for compositional information) and defeasible, prototypical knowledge ? Is it possible to propose a modelling architecture able to provide different type of reasoning (e.g. classical deductive reasoning for the compositional component and a non monotonic reasoning for the prototypical one)? We suggest a possible answer to these questions proposing a modelling framework able to represent, within the semantic web languages, a multilevel representation of conceptual information, integrating both classical and non classical (typicality based) information. Within this framework we hypothesise, at least in principle, the coexistence of multiple reasoning processes involving the different levels of representation. (shrink)

It is plausible to think that our knowledge of linguistic types can bejustified by what we know about the tokens of these types. But one then hasto explain what it is about the relation a type bears to its tokens that makespossible the move from knowledge of the concrete to knowledge of theabstract. I argue that the standard solution to this difficulty, that the relevant relation is instantiation and that the transition is inductive generalization, is inadequate. I propose an alternative, (...) according to which tokens are representations of the type they belong to. I also defend this view against the charge that it cannot account for the systematic ambiguity of expressions like ‘word’ or ‘sentence’, and the objection that it leads to an implausible form of Platonism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the (...) twentieth century, the issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the (...) twentieth century, the issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In this paper, I construe scientific understanding not only as understanding the phenomena by means of some theoretical material (theory, law or model), but more fundamentally as understanding the theoretical material itself that is supposed to explain the phenomena. De Regt and Dieks (2005) emphasise the contextual aspects of the intelligibility of theories, showing that it depends on their ―virtues‖, on the historical standards of intelligibility, and on the particular ―skills‖of their users. My paper aims at continuing this proposal, first (...) by giving a more precise definition of one's understanding of a theory and then by emphasising the importance, for this issue, of the particular formats in which a theory is expressed and hence grasped by its users. To defend this, I take the example of the versions of classical mechanics and the various formats of representation of its main principles and models. What does ―understanding a theory‖ mean? At first sight, we could say that it amounts to having a clear view of the logical relations between its core principles and theorems. This kind of understanding, though global, is quite abstract: one can understand the logical structure of a theory without being able to connect it to the phenomena. Moreover, this definition depends on how one construes the structure of theories: it will vary according to whether one defines theories as logical sets of statements with interpretative rules (following the ―syntactic conception‖ of theories) or as families of models (―semantic conception‖). I thus suggest that there is another sense of ―understanding a theory‖ that itself has two aspects. To understand a theory, one has to understand both what the theory says or means and how it works; in other words, one has to understand it as representing the phenomena (representational aspect) and to be able to manipulate it and make it fit the phenomena (computational aspect). I claim that these are essentially contextual and practical matters, and that the particular format in which the theoretical content is displayed is crucial to them. Following Humphreys' proposal (2004), I claim that one never accesses to a theory as a whole. Be it a set of statements or a class of models, in practice, it is always displayed in some particular equations, statements, images, graphs, diagrams. Humphreys' proposal of the notion of ―template‖ to complement the classical ―units of analysis‖ of science, like theories and models, may be a good candidate to study the relationship between the representational and computational aspects of understanding: a template is a ―concrete piece of syntax‖ (most of the time an equation, but I suggest that Humphreys' claim could be extended to other formats) that has both a representational and computational function. With the example of classical mechanics, I show how these two functions are interrelated and, as Humphreys suggests, are sometimes in tension with each other. Adressing these issues by focusing on the particular formats that are dealt with in practice may enlight this problematic relationship. (shrink)

It is plausible to think that our knowledge of linguistic types can bejustified by what we know about the tokens of these types. But one then hasto explain what it is about the relation a type bears to its tokens that makespossible the move from knowledge of the concrete to knowledge of theabstract. I argue that the standard solution to this difficulty, that the relevant relation is instantiation and that the transition is inductive generalization, is inadequate. I propose an alternative, (...) according to which tokens are representations of the type they belong to. I also defend this view against the charge that it cannot account for the systematic ambiguity of expressions like ‘word’ or ‘sentence’, and the objection that it leads to an implausible form of Platonism. (shrink)

Haugeland doesn’t have what I would call a theory of mental representation. Indeed, it isn’t clear that he believes there is such a thing. But he does have a theory of intentionality and a correlative theory of objectivity, and it is this material that I will be discussing in what follows. It will facilitate the discussion that follows to have at hand some distinctions and accompanying terminology I introduced in Representations, Targets and Attitudes (Cummins, 1996; RTA hereafter). Couching the (...) discussion in these terms will, I hope, help to identify points of agreement and disagreement between Haugaland and myself. In RTA, I distinguished between the target a representation has on a given occasion of its application, and its content. RTA takes representation deployment to be the business of intenders: mechanisms whose business it is to represent some particular class of targets. Thus, on standard stories about speech perception, there is a mechanism (called a parser) whose business it is to represent the phrase structure of the linguistic input currently being processed. When this intender passes a representation R to the consumers of its products, those consumers will take R to be a representation of the phrase structure of the current input. There is no explicit vocabulary to mark the target-content distinction in ordinary language. Expressions like "what I referred to," "what I meant," and the like, are ambiguous. Sometimes they mean targets, sometimes contents. Consider the following dialogue. (shrink)

Coalitional games raise a number of important questions from the point of view of computer science, key among them being how to represent such games compactly, and how to efficiently compute solution concepts assuming such representations. Marginal contribution nets , introduced by Ieong and Shoham, are one of the simplest and most influential representation schemes for coalitional games. MC-nets are a rulebased formalism, in which rules take the form pattern → value, where “pattern ” is a Boolean condition over (...) agents, and “value ” is a numeric value. Ieong and Shoham showed that, for a class of what we will call “basic” MC-nets, where patterns are constrained to be a conjunction of literals, marginal contribution nets permit the easy computation of solution concepts such as the Shapley value. However, there are very natural classes of coalitional games that require an exponential number of such basic MC-net rules. We present read-once MC-nets, a new class of MC-nets that is provably more compact than basic MC-nets, while retaining the attractive computational properties of basic MC-nets. We show how the techniques we develop for read-once MC-nets can be applied to other domains, in particular, computing solution concepts in network flow games on series-parallel networks. (shrink)

The tension between expressive power and computational tractability poses an acute problem for theories of underspecified semantic representation. In previous work we have presented an account of underspecified scope representations within Property Theory with Curry Typing, an intensional first-order theory for natural language semantics. Here we show how filters applied to the underspecified-scope terms of PTCT permit both expressive completeness and the reduction of computational complexity in a significant class of non-worst case scenarios.

Next SectionThis paper proposes an extension of Dependency Tree Semantics (DTS), an underspecified formalism originally proposed in Robaldo (2007). The crucial advantage of DTS as compared to other contemporary proposals is its ability to represent Independent Set (IS) readings (a.k.a. scopeless readings), e.g. cumulative and collective readings. DTS achieves the expressivity needed to represent IS readings because it underspecifies Skolem-like functional dependencies. This paper extends DTS by introducing additional meta-constraints in First-Order Logic dedicated to disambiguating underspecified structures. However, it is (...) worth noting that the meta-constraints are independent from DTS, and could be easily re-implemented in any underspecified theory. The meta-constraints achieve flexible disambiguation, in the sense that they allow ambiguous structures to be specified independently of the linguistic (rather than logical) knowledge used. Secondly, DTS, equipped with the meta-constraints, becomes an expressively complete formalism in the sense of Ebert (2005). Expressive completeness is a desirable property for an underspecified formalism, because it allows a representation for each possible subset of available readings. (shrink)

I analyse the double function of models (representing the phenomena, and being a tool for calculating and predicting them) from a cognitive point of view. Taking the same approach as Ronald Giere, I nevertheless argue that he is to much committed to an abstract conception of theories and that one should give more attention to the particular formats in which models are expressed and grasped. By taking the example of Classical Mechanics, I show that a model, as an abstract entity, (...) doesn't represent anything if not presented in some particular format, be it linguistic, diagrammatic, or pictorial. This format is crucial to the relation between the two main functions of models. (shrink)

We review evidence that language is involved in the establishment and maintenance of adult categories of facial expressions of emotion. We argue that individual and group differences in facial expression interpretation are too great for a fully specified system of categories to be universal and hardwired. Variations in expression categorization, across individuals and groups, favor a model in which an initial “core” system recognizes only the grouping of positive versus negative emotional expressions. The subsequent development of a rich (...) representational structure may require the integration of a verbal categorization system with a perceptual processing system that is category-agnostic. Such a model may reconcile many strands of apparently conflicting behavioral, physiological, and neuroscience evidence concerning our understanding of facial expressions of emotion. (shrink)