This chapter contains sections titled: Is There a Problem about Ethical Criticism? The Sensible Representation of the Moral The Theory of Disinterestedness Coda: The Beautiful as that which is Complete in itself.

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on (...) the presence of an actual displeasure. (shrink)

This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic feminist representation, (...) Christa exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

This book is a collection of pragmatist inquiries into the epistemology of artistic creation and evaluation of artworks. It offers a new concept of aesthetics and beauty of artworks. Aesthetics is the mode of artistic representation of reality, and artworks are beautiful when proven aesthetic true representations of reality.

Statistical learning is often taken to lie at the heart of many cognitive tasks, including the acquisition of language. One particular task in which probabilistic models have achieved considerable success is the segmentation of speech into words. However, these models have mostly been tested against English data, and as a result little is known about how a statistical learning mechanism copes with input regularities that arise from the structural properties of different languages. This study focuses on statistical word segmentation in (...) Arabic, a Semitic language in which words are built around consonantal roots. We hypothesize that segmentation in such languages is facilitated by tracking consonant distributions independently from intervening vowels. Previous studies have shown that human learners can track consonant probabilities across intervening vowels in artificial languages, but it is unknown to what extent this ability would be beneficial in the segmentation of natural language. We assessed the performance of a Bayesian segmentation model on English and Arabic, comparing consonant-only representations with full representations. In addition, we examined to what extent structurally different proto-lexicons reflect adult language. The results suggest that for a child learning a Semitic language, separating consonants from vowels is beneficial for segmentation. These findings indicate that probabilistic models require appropriate linguistic representations in order to effectively meet the challenges of language acquisition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:134 When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it —­Genesis 3:6 Abstract Aesthetics has emerged as an important battleground in the moral quest for a lower carbon society. Especially in the case of proposed wind farms (an environmentally benign technology in terms of low carbon emissions), (...) opponents frequently refer to the unsightly machines creating negative landscape impacts and ruining the view. This essay seeks to reflect on the particular ways in which visual aesthetics are framed and mobilized in this moral debate. Exploring the dividing lines between pictoral and more-­ than-­ representational approaches I ask if the moral dilemmas in our landscape decisions (e.g. individual rights to beauty or collective duties toward future generations) are obscured by physical or visual realms. The largely invisible nature of wind, electricity and climate change, set within the physical and tangible nature of landscapes and turbines, challenges us to experience the aesthetics of landscapes-­ with-­ machines through more creative and engaging means that are not limited to visibility, nor deaf to morality. SIN, DUTY, AND THE AESTHETICS OF NATURE As the first act of sin in the bible, Eve’s consumption of a visually aesthetic fruit led to humans being banned from the Garden of Eden. Looking at the above sentence more closely, we could even argue that “good for food” is not a positive condition (e.g. tasty, nourishing), but Justice in the Eye of the Beholder? ‘Looking’ Beyond the Visual Aesthetics of Wind Machines in a Post-­Productivist Landscape DAN VAN DER HORST Dan van der Horst / Justice in the Eye of the Beholder? 135 rather the absence of a negative (e.g. inedible), whilst “also desirable” may sound like the hunger for wisdom was only a secondary, additional attraction. The sentence thus draws attention to the key role of aesthetics in the making of a moral decision; would Eve have eaten the forbidden fruit if it was not “pleasing for the eye”? Aesthetic judgments may be informed by a range of factors, but as this bible quote illustrates, morality is key among them. Associations between right and wrong on the one side and beauty or ugliness on the other, are not exactly rare in written history, be they religious, literary or scholastic works. As a marked contribution to the latter, Immanuel Kant has paid particularly close attention to the links between aesthetics and morality, arguing amongst others that any universal agreement in judgments of the sublime must rest on an appeal to moral feelings.1 But universality is not the only logical link between aesthetic judgementandmorality.Peoplecanfeelasenseof‘duty’tofindcertainthings beautiful e.g. because that is the aesthetic judgment of the group they aspire to belong to.2 Whilst this sense of duty can refer to social conditioning and group belonging, it also has resonance for landscape aesthetics at a time of anthropogenic climate change (a universal threat) when we must “learn to love the low carbon landscape.”3 This presents a point of departure from the debate on the moral obligation of preserving aesthetically pleasing landscapes (as we tend to do through legal designations, e.g. national parks), an ethical logic which leads, to use the words of Holmes Rolston, “from beauty to duty.”4 Moreover a posi­ tive aesthetical appreciation of a landscape because it accommodates low carbon technologies, would potentially require an inverse ethical logic, i.e. from duty to beauty.5 Notwithstanding the clear conceptual links between moral and aesthetic judgment, in everyday life it may be far less clear what kind of moral issues may underpin particular expressions of aesthetic sensibility. This can be particularly problematic for the deployment of environmental technologies (i.e. technologies pursued to reduce pollution ) that have significant landscape footprints. That is where we can find universal moral claims demanding environmental action for the common good rubbing up against aesthetic landscape judgments in places where such developments are proposed. This produces an unsatisfactory situation in which the deployment of clean technologies ENVIRONMENT, SPACE, PLACE / VOLUME 10 / ISSUE 1 / 2018 136 is delayed, tensions within local communities may increase... (shrink)

Much recent cognitive neuroscientific work on body knowledge is representationalist: “body schema” and “body images”, for example, are cerebral representations of the body (de Vignemont 2009). A framework assumption is that representation of the body plays an important role in cognition. The question is whether this representationalist assumption is compatible with the variety of broadly situated or embodied approaches recently popular in the cognitive neurosciences: approaches in which cognition is taken to have a ‘direct’ relation to the body and (...) to the environment. A “direct” relation is one where the boundaries between the body and the head, or between the environment and the animal are not theoretically important in the understanding of cognition. These boundaries do not play a theoretically privileged role in cognitive explanations of behavior. But representationalism appears to put a representational veil between the locus of cognition and that which is represented, making cognitive relations to the body and to the environment be indirect, with a high associated computational load. For this reason, direct approaches have tried to minimize the use of internal representations (Suchman 1987; Barwise 1987; Agre and Chapman 1987; Brooks 1992; Thelen and Smith 1994; van Gelder 1995; Port and van Gelder 1995; Clark 1997, 1999; Rupert 2009, p. 180). Does a cognitive neuroscience committed to direct relations rule out a representationalist approach to body knowledge? Or is direct representationalism possible? (shrink)

In 1971, Günter Blobel and David Sabatini proposed a novel and quite speculative schematic model to describe how proteins might reach the proper cellular location. According to their proposal, proteins destined to be secreted from the cell contain a “signal” to direct their release. Despite the fact that Blobel and Sabatini presented their signal hypothesis as a “beautiful idea” not grounded in experimental evidence, they received criticism from other scientists who opposed such speculation. Following the publication of the 1971 (...) model, Blobel persisted in conducting experiments and revising the model to incorporate new data. In fact, over the period of 1975–1984, Blobel and colleagues published five subsequent schematic models of the signal hypothesis, each revised based on new laboratory evidence. I propose that the original 1971 model can be viewed as an epistemic creation. Additionally, analysis of the subsequent schematic diagrams over the period of 1975–1984 allows one to track Blobel’s changing conception of an epistemic object over time. Furthermore, the entire series of schematic diagrams presented by Blobel from 1971 to 1984 allow one to visualize the initial conception and subsequent reworking of a scientific theory. In 1999, Blobel was awarded the Nobel Prize in Physiology or Medicine for his work on the signal hypothesis, which was ultimately supported by experimental evidence gathered after the speculative model was published. (shrink)

The Approximate Number System (ANS) is a system that allows us to distinguish between collections based on the number of items, though only if the ratio between numbers is high enough. One of the questions that has been raised is what the representations involved in this system represent. I point to two important constraints for any account: (a) it doesn’t involve numbers, and (b) it can account for the approximate nature of the ANS. Furthermore, I argue that representations of (...) pure magnitude with vehicles that have an imprecision in the value of the unit of measurement (further clarified through a formal model from measurement theory) fit both these requirements. (shrink)

I explore the question of whether Kant's theory in the _Critique of Judgment_ can account for judgments of taste regarding the ugly. While there has been much debate regarding this issue in recent decades, many scholars consider the harmonious free play of the faculties to be central to this question. Harmony between the imagination and understanding is stressed in a series of articles regarding pure judgments of taste of the ugly beginning in the mid-1990s and extending into the (...) 2000s. I investigate the status of harmony in relation to judgments of taste and assess whether harmony among these faculties is necessary to free play. In order to do so, I compare three cases and consider how they relate to cognitive activity: judgments of taste of the beautiful, sublime experience, and judgments of taste regarding works of genius. I argue that pure judgements of taste of the ugly are indeed possible by analyzing the cognitive activity produced in the aforementioned cases. These instances show that in Kant's system, cognitive harmony may not be necessary to free play. Rather, disharmony can also be produced by our aesthetic experience with the sublime, works of genius, and the ugly. I argue that in spite of the contrapurposiveness and disharmony that experience with the ugly spurs, it nonetheless can serve to further cognitive activity and quicken the mind, cultivate taste, and develop community, thus revealing a higher, and perhaps unexpected, purposiveness. (shrink)

We add to the constructivist approach of Quartz & Sejnowski (Q&S) by outlining a specific classification of sources of constraint on the emergence of representations from Elman et al. (1996). We suggest that it is important to consider behavioral constructivism in addition to neural constructivism.

Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, (...) I discuss an account of how aesthetic judgements may change in relation to our coming to know the kind of object being judged and whether, as Sibley maintains, ‘beautiful’ and ‘ugly’ are asymmetric in the sense specified by the author. (shrink)

Plantation workers have seemingly little opportunities for labour agency, defined as the worker’s ability to act and improve their conditions. In response to a call for a better understanding of the horizontal dimension shaping labour agency, this article questions what local factors determine the worker’s ability to act by analysing the institutional constraints embedded in the national context through a mixed methods approach. A combination of qualitative and quantitative data is used to understand what shapes and constrains the potential (...) for labour agency in the case of plantation workers in the pineapple sector of Costa Rica. We provide new empirical evidence of the relation between the local opportunity structure—proxied by perceived job security and union awareness—and labour agency in terms of a worker’s intention to choose forthright (voice), evasive (exit) or repressed (loyalty) actions. The model results indicate that a lack of job security and a lack of union awareness significantly reduce the likelihood to use forthright actions (such as voicing concerns, striking or joining a union) compared to evasive (such as leaving the job) or repressed actions (such as doing nothing). In addition, the qualitative analysis of the local opportunity structure identifies four institutional constraints: weak employment protection, vulnerability of migrant workers, limited workers’ representation and insufficient labour law enforcement. Besides overcoming these institutional constraints, empowering workers to make their voices heard also requires awareness raising about their collective bargaining rights and more job security. (shrink)

In this essay, I explore how cognitive science could illuminate the concept of beauty. Two results from the extensive literature on aesthetics guide my discussion. As the term “beauty” is overextended in general usage, I choose as my starting point the notion of “perfect form.” Aesthetic theorists are in reasonable agreement about the criteria for perfect form. What do these criteria imply for mental representations that are experienced as beautiful? Complexity theory can be used to specify constraints on (...) mental representations abstractly formulated as vectors in a high-dimensional space. A central feature of the proposed model is that perfect form depends both on features of the objects or events perceived and on the nature of the encoding strategies or model of the observer. A simple example illustrates the proposed calculations. A number of interesting implications that arise as a consequence of reformulating beauty in this way are noted. (shrink)

The first part of the following text does make the map of an answer to the question of knowing if and how it is possible to speak of beautiful art in the context of Immanuel Kant’s Critique of the Power of Judgment. There is an appeal to the conditions of the freedom of the imagination, to an interpretation of representation as exemplification and to a reference to aesthetic purposes and constraints. This way it will be made evident (...) it is possible to think the judgment by means of which one declares a work of art a beautiful one as a pure judgment of taste and the artistic beauty as free beauty. Starting from a reflection on what it does mean to speak of aesthetic purposes and constraints, it will be put at stake, in the second part of the text, the univocity of meaning of the notion of taste in Kant’s third Critique. Perhaps in the case of the pure judgment of taste by means of which one declares a work of art a beautiful one it is mandatory to appeal not only to taste as aesthetic power of judgment, but to another taste: a corpus which is narrowly connected with the mechanical, compulsory and academic side of beautiful art. (shrink)

Velina Hasu Houston’s theatrical representations focus on exploring cultural collision and coalescence in transnational communities. With her biographical and cultural background deeply influenced by her Japanese mother’s way of life and sense of values, Houston has been open-minded in creating a new viewpoint through which to look at Japan, the United States and the world. Calligraphy is quite challenging in that it looks at her mother’s aging from both Japanese and American perspectives. It sheds new light on not only understanding (...) the beauty in the aging process but also women’s memories that have value beyond the personal. Since she wrote Tea based on her mother’s life as a war bride, Houston has presented a pioneering, in-depth exploration of Asian women’s memories that have been historically ignored in the United States. This paper examines how Houston’s insight into transnationalism through the transformative nature of cultural identity and change inspires her to re-envision women’s writing and highlights the need for a re-examination of the power of love and beauty. (shrink)

Kant’s theory of taste, as expounded in the Critique of Judgment, deals exhaustively with judgments of beauty. Rarely does Kant mention ugliness. This omission has led to a debate among commentators about how judgments of ugliness should be explained in a Kantian framework. I argue that the judgment of ugliness originates in the disharmonious play between the faculties of imagination and understanding. Such disharmony occurs when the understanding finds that it cannot in principle form any concept suitable to a (...) class='Hi'>representation as it is presented by the imagination. (shrink)

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitiveintellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful (...) and the ugly have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defi ning these categories. (shrink)

This article explores the distinctive artistic form of caricature and the philosophical treatment it receives in the work of Karl Rosenkranz (1805–1879), who gives it a central role in the context of his remarkable book The Aesthetics of Ugliness (Die Ästhetik des Hässlichen). Rosenkranz’ legacy on this score is not much discussed (certainly in Anglo-American philosophical circles), but its importance for the development of post-eighteenth-century aesthetics—in particular, for an aesthetics that stretches beyond the conventional concerns with the beautiful and (...) the sublime—can hardly be overstated. After a presentation of Rosenkranz’ project on the aesthetics of ugliness, this article examines his take on caricature and its relation to philosophy (as well as philosophy’s relation to caricature), and then takes up some pressing contemporary questions that arise for caricature’s use of stereotypes. (shrink)

[FIRST PARAGRAPHS] From Plato through Aquinas to Kant and beyond beauty has traditionally been considered the paradigmatic aesthetic quality. Thus, quite naturally following Socrates' strategy in The Meno, we are tempted to generalize from our analysis of the nature and value of beauty, a particular aesthetic value, to an account of aesthetic value generally. When we look at that which is beautiful, the object gives rise to a certain kind of pleasure within us. Thus aesthetic value is characterized in (...) terms of that which affords us pleasure. Of course, the relation cannot be merely instrumental. Many activities may lead to consequent pleasures that we would not consider to be aesthetic in any way. For example, playing tennis, going swimming or finishing a book. Rather it is in the very contemplation of the object itself that we derive pleasure. As Kant puts it: We dwell on the contemplation of the beautiful because this contemplation strengthens and reproduces itself. The case is analogous (but analogous only) to the way we linger on a charm in the representation of an object which keeps arresting the attention, the mind all the while remaining passive. Thus contemporary philosophers have, following this tradition, defined aesthetic value in terms of our delighting in and savouring an object with pleasure.* An object is of intrinsic aesthetic value if it appropriately gives rise to pleasure in our contemplation of it. Of course background knowledge of particular art movements, cate- gories or artistic intentions may be required to perceive an artwork appropriately. Nonetheless, given the relevant understanding, it is in attending to and savouring uhat is presented to us that we are afforded pleasure. (shrink)

The ArgumentIn this paper three canonical studies of the scientific revolution are subjected to narratological analysis. Underlying this analysis is the assumption that in any single product of historical writing it is possible to distinguish, for analytical purposes, between three levels of reference: the object of the text — the events; the representation of the events — the narrative; and the text in which a story is represented by means of narrative. Through texts one learns about historical events, but (...) also about the process of producing the texts. Techniques of representation are means of production of texts that represent, in addition to the events, also the producer and his or her authority. The distinction made for any specific text allows the reader to play the two levels against each other in order to create a space within which historical writing should be criticized. Such criticism may draw attention to the difficulty of controlling the meaning of historical stories, and to the need to analyze narrative structures in order to appreciate the ideological changes of historical texts. (shrink)

My aim in this dissertation is threefold. First I explore Cassirer's thesis that all human expression and representation is symbolic. Human life unfolds in the interplay of physical necessity and self-determination. In life we continually integrate and balance material and non-material components. The symbolic function is the vehicle whereby we interweave these two dimensions. To accomplish this task and to show why human expression and representation is symbolic, I trace Cassirer's conception of the symbolic function to Kant's distinction (...) between symbols and schemata. I then develop Cassirer's deviation from Kant, which led to his own formulation of the concept of the symbolic function and his views on objectifying experience. ;The second aim of this work addresses the implications of the symbolic function for objectifying human experience. Though objects may indeed exist independently of us, we cannot express or represent what there is independently of our human modes of expression--our symbolic forms. Objects are never presented directly but are always known indirectly through some form of expression. This constraint stems from our nature as human subjects and is therefore "subjectively necessary" for objectifying human experience. This implies that truth as well as beauty cannot be addressed independently of the modality through which it is expressed and represented. ;Finally, I have one more aim in view. Cassirer was a "cultural activist" who grappled with the source of the creative human potential. Far too often in contemporary times we impose psychic and spiritual binds on ourselves that stifle our creative imagination and reduce us to the level of material objects. Cassirer speaks to the productive activity of the human imagination which can function through any modality to combat the spiritual vacuum of contemporary culture. This source of creative freedom does not hover in an abstract realm oblivious to the irrational tendencies of human beings, but is grounded in the materials of daily life. It enables us to objectify human experience through any form of expression by means of the symbolic function. (shrink)

Two particles, described by an irreducible two-particle representation of the Poincaré group, are correlated by the constraints that the constancy of the Casimir operators imposes on the state space. This correlation can be understood as a geometrically caused interaction between the particles, the strength of which is related to the normalisation constant \ of the two-particle states by \. The numerical value of \ is found to match the experimental value of the electromagnetic fine structure constant \. This (...) strongly suggests that the correlation of two particles in an irreducible two-particle representation of the Poincaré group manifests itself in the electromagnetic interaction. (shrink)

This paper approaches the question of how to describe the higher-level internal structures and representations of cognitive systems across various kinds of nonhuman (neuro)cognitive systems. While much research in cognitive (neuro)science and comparative cognition is dedicated to the exploration of the (neuro)cognitive mechanisms and processes with a focus on brain-behavior relations across different non-human species, not much has been done to connect (neuro)cognitive mechanisms and processes and the associated behaviors to plausible higher-level structures and representations of distinct kinds of cognitive (...) systems in non-humans. Although the study of (neuro)cognitive mechanisms and processes can certainly be revealing, (neuro)cognitive mechanisms and processes are underspecified with respect to internal structures and representations of non-human cognitive systems because multiple such mechanisms can target, or be mapped onto, the same internal structure or vice versa. This paper outlines a biosemiotic approach to this linking problem in order to bridge the gap between functions of (neuro)cognitive systems in different species and the higher-level cognitive structures and representations. It is contended that the higher-level internal structures and representations of various cognitive systems are biosemiotic constraints on the (biological) functions of (neuro)cognitive systems that serve to restrict the range of functions (neuro)cognitive systems have or are selected for. This turns out to have implications for issues on the convergent evolution of cognitive traits. (shrink)

The essay deals with the question of how works of art that evoke a sense of the sublime are to be analysed in terms of Kant’s theory. Although Kant assumes the possibility of a beautiful representation of the sublime, of a sublime “shaped by beauty”, that a work can appear sublime is not immediately clear. Contrapurposiveness plays a key role in the experience of the sublime, but art is an essentially purposive context and aims at beauty. Following readings (...) such as those by K. Pillow and R. Wicks, this paper argues that a work of art can occasion a feeling akin to that of the sublime by expressing aesthetic ideas. According to Kant, the beautiful form conveys representations of imagination that strive towards a presentation of the ideas of reason, that is, the true sublime for Kant, opening up for the mind the prospect of an immensurable field of related representations. The image itself suggests that, in confronting this multitude of representations, the mind is “animated” in a way that can be compared -- albeit with significantdifferences -- to that typical of the sublime. In the essay this possibility is further pursued with particular regard to painting. (shrink)

When he claims that it is hard to be happy when “exceedingly ugly, basely born, or alone and childless,” Aristotle introduces a notorious puzzle about his theory of happiness: if happiness is an activity of soul in accordance with virtue, why should appearance, family, and social life affect it? In this paper, I propose an answer to this puzzle. Against Martha Nussbaum, T.H. Irwin, and John Cooper, who maintain that “external goods” like beauty, health, and wealth, are constitutive parts (...) of Aristotelian happiness, I argue that the deprivation of such goods diminishes happiness only insofar as it prevent a person from being virtuous, and I suggest that deprivation often prevents a person from being virtuous not by making virtuous action impossible, but by corrupting a person’s attitudes and character. (shrink)

The emergence of shared symbol systems is considered to be a pivotal moment in human evolution and human development. These changes are normally explained by reference to changes in people's internal cognitive processes. We present 2 experiments which provide evidence that changes in the external, collaborative processes that people use to communicate can also affect the structure and organization of symbol systems independently of cognitive change. We propose that mutual‐modifiability—opportunities for people to edit or manipulate each other's contributions—is a key (...) constraint on the emergence of complex symbol systems. We discuss the implications for models of language development and the origins of compositionality. (shrink)

Language and culture endow humans with access to conceptual information that far exceeds any which could be accessed by a non-human animal. Yet, it is possible that, even without language or specific experiences, non-human animals represent and infer some aspects of similarity relations between objects in the same way as humans. Here, we show that monkeys’ discrimination sensitivity when identifying images of animals is predicted by established measures of semantic similarity derived from human conceptual judgments. We used metrics from computer (...) vision and computational neuroscience to show that monkeys’ and humans’ performance cannot be explained by low-level visual similarity alone. The results demonstrate that at least some of the underlying structure of object representations in humans is shared with non-human primates, at an abstract level that extends beyond low-level visual similarity. Because the monkeys had no experience with the objects we tested, the results suggest that monkeys and humans share a primitive representation of object similarity that is independent of formal knowledge and cultural experience, and likely derived from common evolutionary constraints on object representation. (shrink)

In the recent literature on the issue, a number of commentators have argued that Kant’s aesthetic theory commits him to the position that nothing is ugly. For instance, in ‘Why Kant finds nothing ugly’, Shier argues that ‘within Kant’s aesthetics, there cannot be any negative judgments of taste’ (Shier (1998): 413). And in ‘Kant’s problems with ugliness’, Thomson claims that ‘Kant’s aesthetic theory precludes […] ugliness’ (Thomson (1992): 107). In other words, as it is presented in some of (...) the literature, Kant’s account of aesthetic judgment seems to preclude him from accounting for the possibility of ugliness. A number of reasons have been put forward to explain why there can be no ugliness for Kant. Some have to do with his account of experience in general. Others have to do with the very nature of the free play between imagination and understanding. Of course, the real source of the problem is that the Critique of Judgment does not actually discuss ugliness, so commentators are left with the task of filling in the gaps. This paper aims to argue that Kant’s account of aesthetic judgment commits him not only to the existence of the ugly, but to the distinction between two kinds of ugliness. To support this claim, I will start from the premise that if there is to be room for ugliness, it should be defined as the contrary of beauty. However, I will suggest that Kant’s account of beauty can be negated in two ways, one that gives rise to impure ugliness and the other to pure ugliness. I will examine them in turn, first by showing that impure ugliness is the contrary of beauty insofar as it contravenes our interests and produces a desire to dispose of it, whereas beauty is necessarily disinterested for Kant. In the second section, I will use Kant’s definition of judgments of pure beauty to carve a space for an account of pure ugliness. For, it should present all the characteristics that make it “pure” whilst replacing the characteristics that make it beautiful with the ones that make it ugly. On this basis, I will define pure ugliness as the disinterested displeasure caused by the experience of what I will call “foul play” between the imagination and the understanding. (shrink)

Against the claim that Nietzsche’s early and late views on confronting the truth about human existence differ widely, this article argues that in The Birth of Tragedy tragic art is affirmative of life and not limited to beautifying illusion, while later works still contain the idea that artistic production of beauty is a falsification necessary to make existence bearable for us. Nietzsche did not start with the view that art’s value lies in sheer illusion, nor end with the view that (...) truth should be confronted wholly without illusion, but is ambivalent on this issue throughout. (shrink)

In his On the Musically Beautiful, Hanslick vigorously argued that musical beauty depends neither on the representation nor on the evocation of feelings. However, despite his formalism, Hanslick regards the performance of a musical work as a moment of emotional release. Given the tension between the formalist nature of Hanslick’s general theory and this expressionist drift in his conception of the performer, in this article I pursue two objectives: 1) to argue that there is, in fact, an important (...) internal inconsistency in Hanslick’s theory regarding the nature of performance, and 2) to deepen and render intelligible this perspective of performance. Although internally inconsistent, this perspective, in its search for a synergistic conciliation of the composer’s creativity with the performer’s expressivity, is worthy of analysis. (shrink)

We investigated the influence of globally ungrammatical local syntactic constraints on sentence comprehension, as well as the corresponding activation of global and local representations. In Experiment 1, participants viewed visual scenes with objects like a carousel and motorbike while hearing sentences with noun phrase (NP) or verb phrase (VP) modifiers like “The girl who likes the man (from London/very much) will ride the carousel.” In both cases, “girl” and “ride” predicted carousel as the direct object; however, the locally coherent (...) combination “the man from London will ride…” in NP cases alternatively predicted motorbike. During “ride,” local constraints, although ruled out by the global constraints, influenced prediction as strongly as global constraints: While motorbike was fixated less than carousel in VP cases, it was fixated as much as carousel in NP cases. In Experiment 2, these local constraints likewise slowed reading times. We discuss implications for theories of sentence processing. (shrink)

"Representation" is one of those Janus-faced terms that seems blatantly obvious when used in a casual or pre-theoretic manner, but which reveals itself far more slippery when attentively studied. Any allusion to "metarepresentation", it would then seem, only compounds these difficulties. Taking the metarepresentationalist framework in its roughest outline as our point of departure, we thus articulate four key "structural" features that appear binding for any such theory.

This chapter examines a question at the intersection of the mind-body problem and the analysis of mental representation: the question of the direction of constraint between psychological fact and theory and neurophysiological or physical fact and theory. Does physiology constrain psychology? Are physiological facts more basic than psychological facts? Or do psychological theories, including representational analyses, guide and constrain physiology? Despite the antireductionist bent of functionalist positions, it has generally been assumed that physics or physiology are more basic than, (...) and hence contraining on, psychological fact and theory. Section 1 sketches the intuitions that would lead one to adopt such a view. The chapter then examines whether one-sided constraint has been and should be found in practice. It argues that philosophical analysis of psychological science shows that rigorous functional analyses can be carried out in advance of physiological knowledge. Indeed, in the investigation of sensory perception, ascription of psychological function leads the way in the individuation and investigation of neurophysiology. We shall look at several cases in visual perception (binocular single vision, stereopsis, and color vision), in which psychological results have provided a basis for physiological research. It is tempting to think that the psychological functions that enable physiological investigation would be Wrightian teleofunctions. It is, thus, natural to suppose that psychologists and neurophysiologists have proceeded with a conception of the purpose of a given neural structure, and have viewed neural anatomy and neural activity as the substrate for or instantiation of various properly psychological functions. For example, neuroscientists surely understand that the eye and visual system are for seeing, rather than for detecting an electric discharge in the vicinity of the retina (which sighted humans can do, via the subjective light produced by such discharges), and they guide their investigations of the eye, visual cortex, and intervening pathways accordingly. As a result, they will view rods and cones in the eye as photoreceptors, even though these structures will produce "output" (will respond with hyperpolarization) to other forms of energy. At the same time, there may be cases in which the functions that have guided research are in fact precisely determined input-output functions, whose teleofunctional status is absent or misdescribed. I will argue that in the case of trichromatic color matches, the psychological function involved is an input-output function, and that this result has implications for the description of color vision as a psychological capacity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beauty, Transcendence, and the Inclusive Hierarchy of Creation1Thomas Joseph White, O.P.Interpreters of Thomas Aquinas have long argued about whether he holds that beauty is a “transcendental,” a feature of reality coextensive with all that exists, like unity, goodness, and truthfulness.2 In the first part of this article, I will argue that Aquinas can [End Page 1215] be read to affirm in an implicit way that beauty is a transcendental. (...) In the second part, I will consider what it might mean from a Thomistic point of view to speak of a transcendent divine beauty, given Aquinas’s metaphysical commitments, particularly with respect to his doctrine of divine simplicity. In the final part, I will treat the question of how the beauty of the creation both manifests and conceals divine beauty.Beauty as a Transcendental Feature of RealityAquinas does not list beauty as a transcendental term in texts on transcendental notions. Perhaps, then, one should simply exclude it from a responsible account of his teaching on this subject. However, at least two well-known texts should give us reason to pause before reaching such a conclusion. One is found in his Commentary on Dionysius’ Divine Names, chapter 4, lectio 5. The other is in his discussion of the beauty of the eternal Son of God in a discussion of the Holy Trinity in the Summa theologiae I, q. 39, a. 8.In the first of these texts, Aquinas is commenting on Dionysius. The extended text is analytically dense. Aquinas is discussing ways in which one might say that God is beautiful and in what ways one might not say so. I will return to his topic below. Here, however, it is pertinent to consider Aquinas’s discussion of the presence of beauty in all that exists. He makes six main points.3 First, all beauty comes [End Page 1216] from God insofar as God is the cause of all that exists. Second, he gives a first definition of beauty: beauty can be defined ontologically as the splendor (claritas) that results from form; everything has a formal determination of some kind insofar as it has existence (esse); therefore, insofar as anything exists (and has some formal ontological content) it has some degree of beauty. Third, the splendor of the form in created things is a participation in the divine splendor from which it originates. The divine nature is the transcendent exemplar of beauty in diverse finite created realities. Fourth, then (and perhaps most importantly), “ex divina pulchritudine esse omnium derivatur”: literally, the existence of everything originates from divine beauty. Fifth, a second definition of beauty is considered: beauty can be defined ontologically as a property of being that emerges from proportion or harmony (consonantia). For example, authentic relationships of personal friendship imply spiritual harmony or concord and are beautiful and noble in this respect. Sixth, then, the concord or beautiful harmonies we find in the created order are expressive of the wisdom of God, who is the author of creation.Evidently, if the existence of everything derives from divine beauty, and if everything that has existence is in some way beautiful by virtue of its intrinsic form, then it would seem to follow logically that beauty, for Aquinas, is a characteristic of being that is coextensive with all that exists. We see a similar idea expressed in the aforementioned passage of ST. Here, however, Aquinas gives a more synthetic definition of beauty in things that combines both the definitions found in our previous discussion, claritas and proportio, but it also adds a third, integritas: ontological integrity or wholeness.Species or beauty has a likeness to the property of the Son. For beauty includes three conditions, “integrity” or “perfection,” [End Page 1217] since those things which are impaired are by the very fact ugly; due “proportion” or “harmony”; and lastly, “brightness” or “clarity,” whence things are called beautiful which have a bright color.4The implication of this point of view is readily apparent. God is essentially beautiful, and God has created all that exists in light of the eternal Word and Wisdom of God, who is the Son. Consequently, all that exists and that... (shrink)

This study examines whether L1 English/L2 Spanish learners at different proficiency levels acquire a novel L2 phoneme, the Spanish palatal nasal /ɲ/. While alveolar /n/ is part of the Spanish and English inventories, /ɲ/, which consists of a tautosyllabic palatal nasal+glide element, is not. This crosslinguistic disparity presents potential difficulty for L1 English speakers due to L1 segmental and phonotactic constraints; the closest English approximation is the heterosyllabic sequence /nj/. With these crosslinguistic differences in mind, we ask: Do L1 (...) English learners of L2 Spanish produce acoustically distinct Spanish /n/ and /ɲ/ and Does the distinction of /n/ and /ɲ/ vary by proficiency? In the case that learners distinguish /n/ and /ɲ/, the second question investigates the acoustic quality of /ɲ/ to determine if learners' L2 representation patterns with that of an L1 Spanish representation or if learners rely on an L1 representation and if the acoustic quality of L2 Spanish /ɲ/ varies as a function of proficiency. Beginner and advanced L1 English/L2 Spanish speakers and a comparison group of 10 L1 Spanish/L2 English speakers completed delayed repetition tasks in which disyllabic nonce words were produced in a carrier phrase. English critical items contained an intervocalic heterosyllabic /nj/ sequence ; Spanish critical items consisted of items with either intervocalic onset /ɲ/ or /n/ ['xa.na]. We measured duration and formant contours of the following vocalic portion as acoustic indices of the /n/~/ɲ/ and /ɲ/ ~/nj/ distinctions. Results show that, while L2 Spanish learners produce an acoustically distinct /n/ ~ /ɲ/ contrast even at a low level of proficiency, the beginners produce an intermediate /ɲ/ that falls acoustically between their English /nj/ and the L1 Spanish /ɲ/ while the advanced learners' Spanish /ɲ/ and English /nj/ appear to be in the process of equivalence classification. We discuss these outcomes as they relate to the robustness of L1 phonological constraints in late L2 acquisition coupled with the role of perceptual cues, functional load, and questions of intelligibility. (shrink)

Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by (...) the ongoing expansion of the aesthetic domain, and partly by the fact that many still seem resistant to this aesthetic diversification—which aestheticians seem to avoid: what, if anything, constrains the scope of beauty or the aesthetic? I argue that form, construed as comprising a degree, however minimal, of experienceable complexity, is necessary and sufficient for an object's candidature for the possession of aesthetic properties. Such a condition serves to discriminate between attempts to expand the scope of the aesthetic that are legitimate and those that are not. If correct, my view suggests that the aesthetic realm, though not limitless, is very broad indeed—but this, I think, is as it should be. (shrink)

Beauty was once the main or even exclusive topic of aesthetics. Now, two hundred years after Karl Rosenkranz’s Aesthetics of Ugliness and a formidable development of fine arts in which many atmospheres beyond the edge of beauty were produced, it may be time again to ask the fundamental question of what the beautiful is like. But putting this question we notice that since the 18th century our aesthetical experience has deeply changed, so that the concept of traditional beauty must (...) be changed itself. (shrink)

Memory is fleeting. New material rapidly obliterates previous material. How, then, can the brain deal successfully with the continual deluge of linguistic input? We argue that, to deal with this “Now-or-Never” bottleneck, the brain must compress and recode linguistic input as rapidly as possible. This observation has strong implications for the nature of language processing: (1) the language system must “eagerly” recode and compress linguistic input; (2) as the bottleneck recurs at each new representational level, the language system must build (...) a multilevel linguistic representation; and (3) the language system must deploy all available information predictively to ensure that local linguistic ambiguities are dealt with “Right-First-Time”; once the original input is lost, there is no way for the language system to recover. This is “Chunk-and-Pass” processing. Similarly, language learning must also occur in the here and now, which implies that language acquisition is learning to process, rather than inducing, a grammar. Moreover, this perspective provides a cognitive foundation for grammaticalization and other aspects of language change. Chunk-and-Pass processing also helps explain a variety of core properties of language, including its multilevel representational structure and duality of patterning. This approach promises to create a direct relationship between psycholinguistics and linguistic theory. More generally, we outline a framework within which to integrate often disconnected inquiries into language processing, language acquisition, and language change and evolution. (shrink)

What follows is but the attempt to draw the lessons from the mystical and visionary text of Teresa of?vila in order to consider today issues that concern us, questions that are asked of Aesthetics, and not only as theoretical discipline that theorises on the arts and considers the beautiful, but as a reflection on a?sthesis, of sensitivity, of the sensitive edge exposed by a constituent relationship which installs the human in a world. Consideration, then, of the happening, of entering (...) the world, creative experience. This essay seeks to consider the relationship between the image and the body via the visionary discourse of the mystics, because their writings question and lend shape to a large number of formulae of thought that can help us better understand the questions facing us today. Let us imagine that the mystics made of their body a frontier or a support where what by definition has no place could take place. Place: part of space occupied by a body, the boundary of a containing object. This then is what is addressed here, a question of boundaries. nema. (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to the (...) United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

A central tenet of cognitive linguistics is that adults’ knowledge of language consists of a structured inventory of constructions, including various two-argument constructions such as the active, the passive and “fronting” constructions. But how do speakers choose which construction to use for a particular utterance, given constraints such as discourse/information structure and the semantic fit between verb and construction? The goal of the present study was to build a computational model of this phenomenon for two-argument constructions in Mandarin. First, (...) we conducted a grammaticality judgment study with 60 native speakers which demonstrated that, across 57 verbs, semantic affectedness – as determined by further 16 native speakers – predicted each verb’s relative acceptability in the bei-passive and ba-active constructions, but not the Notional Passive and SVO Active constructions. Second, in order to simulate acquisition of these competing constraints, we built a computational model that learns to map from corpus-derived input to an output representation corresponding to these four constructions. The model was able to predict judgments of the relative acceptability of the test verbs in the ba-active and bei-passive constructions obtained in Study 1, with model-human correlations in the region of r = 0.5 and r = 0.3, respectively. Surprisingly, these correlations increased when lexical verb identity was removed; perhaps because this information leads to over-fitting of the training set. These findings suggest the intriguing possibility that acquiring constructions involves forgetting as a mechanism for abstracting across certain fine-grained lexical details and idiosyncrasies. (shrink)

The article focuses on Intranet technology as the result of overlapping negotiations among social actors inside organizations. Such negotiations are aimed at establishing and embedding specific relations and representations of work, communication, and learning into the technological artifact. Two case studies are presented to analyze practices and processes of implementation and use of the Intranet. The fieldwork, carried out in two companies in Italy and the United Kingdom, shows how specific contexts and organizational histories can affect such processes. Despite the (...) “optimistic” imagery associated with Intranet technology and the high expectations about its communicative and economic efficiency, the article points out many constraints in the process of implementation and use. Company history and culture, skills and work groups, and use of other technologies and media are relevant factors to account for the current use of the two systems and their low degree of integration into everyday working and communicative practices. (shrink)

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample (...) of 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)