Concepts are highly theoretical entities. One cannot study them empirically without committing oneself to substantial preliminary assumptions. Among the competing theories of concepts and categorization developed by psychologists in the last thirty years, the implicit theoretical assumption that what falls under a concept is determined by description () has never been seriously challenged. I present a nondescriptionist theory of our most basic concepts, which include (1) stuffs (gold, milk), (2) real kinds (cat, chair), and (3) individuals (Mama, Bill Clinton, the (...) Empire State Building). On the basis of something important that all three have in common, our earliest and most basic concepts of substances are identical in structure. The membership of the category like that of is a natural unit in nature, to which the concept does something like pointing, and continues to point despite large changes in the properties the thinker represents the unit as having. For example, large changes can occur in the way a child identifies cats and the things it is willing to call without affecting the extension of its word The difficulty is to cash in the metaphor of in this context. Having substance concepts need not depend on knowing words, but language interacts with substance concepts, completely transforming the conceptual repertoire. I will discuss how public language plays a crucial role in both the acquisition of substance concepts and their completed structure. (shrink)

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

The article defines the function of the visual brain as a search for constancies with the aim of obtaining knowledge about the world, and claims that it is applicable with equal vigour to the function of art. We define the general function of art as a search for the constant, lasting, essential, and enduring features of objects, surfaces, faces, situations, and so on, which allows us not only to acquire knowledge about the particular object, or face, or condition represented on (...) the canvas but to generalize, based on that, about many other objects and thus acquire knowledge about a wide category of objects or faces. In this process, the artist must also be selective and invest his work with attributes that are essential, discarding much that is superfluous. It follows that one of the functions of art is an extension of the major function of the visual brain. Indeed, philosophers and artists often spoke about art in terms that are extremely similar to the language that a modern neurobiologist of vision would use, except that he would substitute the word ‘brain’ for the word ‘artist.’. (shrink)