The existence of probability in the sense of the frequency interpretation, i.e., probability as “long term relative frequency,” is shown to follow from the dynamics and the interpretational rules of Everett quantum mechanics in the Heisenberg picture. This proof is free of the difficulties encountered in applying to the Everett interpretation previous results regarding relative frequency and probability in quantum mechanics. The ontology of the Everett interpretation in the Heisenberg picture is also discussed.

The Standard Picture holds that the contribution to the law made by an authoritative legal pronouncement is directly explained by the linguistic content of that pronouncement. This essay defends the Standard Picture from Mark Greenberg’s purported counterexamples drawn from patterns of statutory interpretation in U.S. criminal law. Once relevant features of the U.S. rule of recognition are admitted into the analysis—namely, that it arranges sources of law hierarchically, and that judicial decisions are sources of valid law—Greenberg’s counterexamples (...) are revealed as only apparent, not genuine. The legal norms that result from the patterns of interpretation he identifies can be directly explained in terms of the linguistic contents of authoritative pronouncements: judicial decisions. Furthermore, those norms can be understood as modifications of the valid norms contained in their originating statutes because judicial decisions are permitted ‘explanatory intermediaries’ of statutes by the rule of recognition. (shrink)

There is a common assumption about pictures, that seeing them produces in us something like the same effects as seeing the things they depict. This assumption lies behind much empirical research into vision, where experiments often expose subjects to pictures of things in order to investigate the processes involved in cognizing those things themselves. Can philosophy provide any justification for this assumption? I examine this issue in the context of Flint Schier's account of pictorial representation. Schier attempts to infer the (...) assumption from what he takes to be the fundamental facts about picturing. I argue that there is no plausible form of Schier's basic claims from which the assumption can be inferred. I then reject a second argument, that by appealing to the assumption Schier could explain why it is impossible to depict a particular without depicting it as having certain properties. I conclude that those sympathetic to the assumption need to articulate and defend some version of it suited to their needs. (shrink)

Subject relative clauses (SRCs) are typically processed more easily than object relative clauses (ORCs), but this difference is diminished by an inanimate head‐noun in semantically non‐reversible ORCs (“The book that the boy is reading”). In two eye‐tracking experiments, we investigated the influence of animacy on online processing of semantically reversible SRCs and ORCs using lexically inanimate items that were perceptually animate due to motion (e.g., “Where is the tractor that the cow is chasing”). In Experiment 1, 48 children (aged 4;5–6;4) (...) and 32 adults listened to sentences that varied in the lexical animacy of the NP1 head‐noun (Animate/Inanimate) and relative clause (RC) type (SRC/ORC) with an animate NP2 while viewing two images depicting opposite actions. As expected, inanimate head‐nouns facilitated the correct interpretation of ORCs in children; however, online data revealed children were more likely to anticipate an SRC as the RC unfolded when an inanimate head‐noun was used, suggesting processing was sensitive to perceptual animacy. In Experiment 2, we repeated our design with inanimate (rather than animate) NP2s (e.g., “where is the tractor that the car is following”) to investigate whether our online findings were due to increased visual surprisal at an inanimate as agent, or to similarity‐based interference. We again found greater anticipation for an SRC in the inanimate condition, supporting our surprisal hypothesis. Across the experiments, offline measures show that lexical animacy influenced children's interpretation of ORCs, whereas online measures reveal that as RCs unfolded, children were sensitive to the perceptual animacy of lexically inanimate NPs, which was not reflected in the offline data. Overall measures of syntactic comprehension, inhibitory control, and verbal short‐term memory and working memory were not predictive of children's accuracy in RC interpretation, with the exception of a positive correlation with a standardized measure of syntactic comprehension in Experiment 1. (shrink)

Picture-theories of visual perception usually maintain that, when something is simply seen, then the seer “has” a picture of the thing, the thing is the primary cause of the picture, the thing in itself is not the primary object of sight, and it is the picture itself that is the primary object of visual awareness.I shall argue in this essay that there are not only proper, but required, senses in which the first three of these propositions (...) are true, but that the fourth is always false or that one never simply sees the picture. Rather, what is thus seen is always in the picture, never the picture itself. The grounds on which I make this complex point will also undo the time-lag argument, at least in the standard interpretation of it associated with the false fourth proposition above. (shrink)

This essay explores the prospects of grounding an account of pictorial experience or ‘seeing-in’ on a theory of presence in ordinary perception. Even though worldly objects can be perceptually recognized in a picture, they do not feel present as when they are perceived face to face. I defend a dual view of perceptual phenomenology according to which the sense of presence is dissociated from the contents of perception. On the one hand, the sense of presence is best conceived as (...) a non-sensory feeling. Ordinary objects are felt but not seen to be present. On the other hand, the contents of perception are determined by the actualization of perceptual-recognitional abilities. Unlike current versions of the feeling-based account of the sense of presence, I claim that these abilities enable us to perceive worldly (partial or overall) appearances. This claim justifies the strongest interpretation of recognition theories which does not fall back on the view that pictorial experience involves a kind of perceptual illusion. (shrink)

Iris Murdoch has long been known as one of the most deeply insightful and morally passionate novelists of our time. This attention has often eclipsed Murdoch's sophisticated and influential work as a philosopher, which has had a wide-ranging impact on thinkers in moral philosophy as well as religious ethics and political theory. Yet it has never been the subject of a book-length study in its own right. Picturing the Human seeks to fill this gap. In this groundbreaking book, author Maria (...) Antonaccio presents the first systematic and comprehensive treatment of Murdoch's moral philosophy. Unlike literary critical studies of her novels, it offers a general philosophical framework for assessing Murdoch's thought as a whole. Antonaccio also suggests a new interpretive method for reading Murdoch's philosophy and outlines the significance of her thought in the context of current debates in ethics. This vital study will appeal to those interested in moral philosophy, religious ethics, and literary criticism, and grants those who have long loved Murdoch's novels a closer look at her remarkable philosophy. (shrink)

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...) constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

ABSTRACTThe relationship between symbolic expression and affect tends to be investigated from the perspective of recipients in contexts like media, politics, and advertising. A more producer-centri...

This chapter focuses on picture theory, which is sometimes spoken of as a theory of the proposition. By a proposition, Wittgenstein like Frege means something that determines its sense by means of a correlation between the mode of combination of its constituent symbols and the structure of its sense. It has been an orthodoxy amongst Tractatus interpreters, and continues to be such in the wider philosophical community, that Wittgenstein follows the Russell in offering a correspondence theory of truth. The (...) expression of a Tractarian fact provides that fact's mode of combination, and from here there can be no further question as to the ontological types of its constituents. Tractarian facts, it is however added, are not truth conditions but items whose existence explains the obtaining of truth conditions: a Tractarian atomic fact is not a truth condition but a truthmaker. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing (...) that photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

The present contribution engages with two representative examples of middle-Byzantine ekphraseis, Photios’ description of the Virgin of the Pharos and Leo VI’s account of the church founded by Stylianos Zautzes. It aims at showing how these texts suggest modes of viewing the sacred space and decoration that pose, more than settle, questions about images and pictures, their intended function, significance and impact within their specific cultural frames of reference. Far from being neutral and disengaged, these verbal representations have a specific (...) agenda, which inflects the audience’s perception and interpretation of the decorated church space. Comparisons with coeval monumental evidence are also offered, in order to analyze textual and visual developments in parallel. (shrink)

This paper shows how different axiomatic and constructive approaches within quantum field theory can be understood in terms of the so-called ,picture theory' of Heinrich Hertz. Each approach will count as a different picture due to the different status of the various concepts (symbols) they are employing, like observables, gauge invariance, confinement or the space-time continuum. An important difference with the original Hertzian approach is the fact that the different approaches in quantum field theory have partially overlapping, partially (...) supplementing domains of application. This also marks some of the parallels and differences with contemporary debates on structural realism and model-theoretic approaches in the philosophy of physics. The objection that the talk about different pictures just relies on the fact that quantum field theory is unfinished will be countered. Finally, the Hertzian approach will be briefly elaborated and embedded into its philosophical successor projects of Cassirer and Goodman. German Dieser Aufsatz zeigt, wie verschiedene axiomatische und konstruktive Ansätze in der Quantenfeldtheorie mit Hilfe der sogenannten ,,Bildtheorie“ von Heinrich Hertz verstanden werden können. Aufgrund der unterschiedlichen Stellungen der verschiedenen Konzepte (Symbole), die diese Ansätze benutzen - wie etwa Observable, Eichinvarianz, Confinement oder Raum-Zeit-Kontinuum - wird jeder als ein eigenes Bild zu betrachten sein. Ein wichtiger Unterschied zu Hertz' ursprünglicher Fassung der Bildtheorie sind dabei die unterschiedlichen Anwendungsbereiche der Ansätze in der Quantenfeldtheorie. Diese überschneiden sich zum Teil, zum Teil ergänzen sie einander. Dadurch ergeben sich für die bildtheoretische Interpretation wichtige Parallelen und Unterschiede zu anderen Positionen in der Philosophie der Physik, insbesondere zum Strukturrealismus und zur Modell-Theorie. Neben diesen diskutiere ich den Einwand, dass die Redeweise von verschiedenen Bildern in der Quantenfeldtheorie nur deshalb möglich sei, weil die Theorie noch nicht abgeschlossen ist. Schließlich erweitere ich die Hertzsche Bildtheorie und setze sie dabei in Beziehung zu ihren philosophischen Nachfolgeprojekten bei Cassirer und Goodman. (shrink)

In this article, we will attempt to understand Sellars’ puzzling notion of ‘adequate picturing’ and its relation to the Sellarsian ‘conceptual order’ through Spinoza’s intuitive knowledge. First, it will be suggested that there are important structural similarities between Sellarsian ‘adequate picturing’ and Spinoza’s intuitive knowledge which can illuminate some ‘dark’ and not so well understood features of Sellarsian picturing. However, there remain some deep differences between Sellars’ and Spinoza’s philosophy, especially with regard to their notion of ‘adequacy’ and the sense (...) in which an idea can be said to ‘correspond’ with its object. As a consequence of those differences it turns out that, from a Sellarsian viewpoint, Spinoza’s notion of intuitive knowledge is a version of the myth of the Given. However, Sellars’ own proposed way out of the Myth has problematic consequences by Sellars’ own lights: His sharp distinction between the ‘space of reasons’ level and the level of picturing makes the Sellarsian vision of the ‘stereoscopic fusion’ of those levels virtually unintelligible. Finally, it will be argued that a non-standard interpretation of Spinoza’s intuitive knowledge -proposed in Baltas -, combined with a Sellars-inspired bifurcated understanding of Dreyfusian expert knowledge, can provide the means 1) for constructing a notion of intuitive knowledge that evades the myth of the Given, and, 2) for making full sense of the claim that the ‘space of reasons’ dimension of understanding the world can in principle be fused with the ‘picturing’ dimension and provide us with a single complex coherent experience of reality and our place in it. (shrink)

The consent and community engagement process for research with Indigenous communities is rarely evaluated. Research protocols are not always collaborative, inclusive or culturally respectful. If participants do not trust or understand the research, selection bias may occur in recruitment, affecting study results potentially denying participants the opportunity to provide more knowledge and greater understanding about their community. Poorly informed consent can also harm the individual participant and the community as a whole. Invited by local Aboriginal community leaders of the Fitzroy (...) Valley, the Kimberley, Western Australia, The Picture Talk project explores the consent process for research. Focus groups of Aboriginal community members were conducted to establish preferences for methods of seeking individual consent. Transcripts were analysed through NVivo10 Qualitative software using grounded theory with inductive and deductive coding. Themes were synthesised with quotes highlighted. Focus groups with Aboriginal community members were facilitated by a Community Navigator as a cultural guide and interpreter and a researcher. Participants were recruited from all main language groups of the Fitzroy Valley – Gooniyandi, Walmajarri, Wangkatjungka, Bunuba and Nikinya. Participants were aged ≥18 years, with 5 female groups and one male group. Themes identified include: Reputation and trust is essential; The Community Navigator is key; Pictures give the words meaning – milli milli versus Pictures; Achieving consensus in circles; Signing for consent; and Research is needed in the Valley. Aboriginal communities of the Fitzroy Valley recommend that researchers collaborate with local leaders, develop trust and foster a good reputation in the community prior to research. Local Aboriginal researchers should be employed to provide cultural guidance throughout the research process and interpret local languages especially for elders. Pictures are preferred to written text to explain research information and most prefer to sign for consent. The Fitzroy Valley welcomes research when collaborative and for the benefit of the community. Future research could include exploring how to support young people, promote health screening and improve understanding of medical knowledge. (shrink)

Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, (...) like sequences of utterances, can be used to tell stories. Wordless picture books, comics, and film are cases in point. In this paper I pick up the project of providing a dynamic semantic account of pictorial story-telling, started by Abusch (2012) and continued by Abusch & Rooth (2017); Maier & Bimpikou (2019); Fernando (2020). More specifically, I propose here a semantics of speech and thought bubbles by adding event reference to PicDRT. To get there I first review the projection-based semantics for pictures (section 1), noting the fundamental distinction between symbolic and iconic meaning that makes speech bubbles especially interesting (section 2). I then review the dynamic PicDRT framework for pictorial narratives (section 3), add events (section 4), and propose an account of speech bubbles as quotational event modification (section 5). I end with a brief look at other conventional, symbolic enrichments in comics (section 6). (shrink)

We say the camera doesn't lie, but we also know that pictures distort and deceive. In Picture Perfect, Kiku Adatto brilliantly examines the use and abuse of images today. Ranging from family albums to Facebook, political campaigns to popular movies, images of war to pictures of protest. Adatto reveals how the line between the person and the pose, the real and the fake, news and entertainment is increasingly blurred. New technologies make it easier than ever to capture, manipulate, and (...) spread images. But even in the age of the Internet, we still seek authentic pictures and believe in the camera's promise to document, witness, and interpret our lives. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault (...) dismissed the image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

I show explicitly how concerns about wave function collapse and ontology can be decoupled from the bulk of technical analysis necessary to recover localized, approximately Newtonian trajectories from quantum theory. In doing so, I demonstrate that the account of classical behavior provided by decoherence theory can be straightforwardly tailored to give accounts of classical behavior on multiple interpretations of quantum theory, including the Everett, de Broglie-Bohm and GRW interpretations. I further show that this interpretation-neutral, decoherence-based account conforms to a (...) general view of inter-theoretic reduction in physics that I have elaborated elsewhere, which differs from the oversimplified and often ambiguous picture that treats reduction simply as a matter of taking limits. This interpretation-neutral account rests on a general three-pronged strategy for reduction between quantum and classical theories that combines decoherence, an appropriate form of Ehrenfest's Theorem, and a decoherence-compatible mechanism for collapse. It also incorporates a novel argument as to why branch-relative trajectories should be approximately Newtonian, which is based on a little-discussed extension of Ehrenfest's Theorem to open systems, rather than on the more commonly cited but less germane closed-systems version. In the Conclusion, I briefly suggest how the strategy for quantum-classical reduction described here might be extended to reduction between other classical and quantum theories, including classical and quantum field theory and classical and quantum gravity. (shrink)

The leading models of disability struggle to fully encompass all aspects of “disability.” This difficulty arises, the author argues, because the models fundamentally misunderstand the nature of disability. Current theoretical approaches to disability can be understood as “nounal,” in that they understand disability as a thing that is caused or embodied. In contrast, this paper presents an adverbial perspective on disability, which shows that disability is experienced as a personally irremediable impediment to daily-living tasks or goals-like-ours. The picture theory (...) of disability technically constitutes a species of relational approach because its analysis references the interplay between an individual and their environment; it differs from other relational accounts, however, by interpreting disability as a certain kind of negative experience—rather than a function of that relationship. This purely descriptive theory makes no normative claims about disability and operates as both a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. When disability is reframed in this way, the theory offers a particularist perspective which shows if, when, where, and how disability is experienced. (shrink)

Recently, a number of philosophers of biology have endorsed views about random drift that, we will argue, rest on an implicit assumption that the meaning of concepts such as drift can be understood through an examination of the mathematical models in which drift appears. They also seem to implicitly assume that ontological questions about the causality of terms appearing in the models can be gleaned from the models alone. We will question these general assumptions by showing how the same equation (...) — the simple 2 = p2 + 2pq + q2 — can be given radically different interpretations, one of which is a physical, causal process and one of which is not. This shows that mathematical models on their own yield neither interpretations nor ontological conclusions. Instead, we argue that these issues can only be resolved by considering the phenomena that the models were originally designed to represent and the phenomena to which the models are currently applied. When one does take those factors into account, starting with the motivation for Sewall Wright’s and R.A. Fisher’s early drift models and ending with contemporary applications, a very different picture of the concept of drift emerges. On this view, drift is a term for a set of physical processes, namely, indiscriminate sampling processes. (shrink)

In this paper, I discuss two influential pictures of communication and the relation between them. One picture holds that successful communication requires identity of content: The speaker has a belief that she expresses with her utterance, and the hearer acquires a belief with the same content by understanding the utterance. The second picture was proposed by Lewis in his classic work Convention and then refined in “Languages and Language.” It sees communication as coordination among speakers—a technical notion that (...) Lewis draws from game theory. Samuel Cumming has recently provided an elegant and insightful synthesis of the two pictures, arguing that Lewisian coordination among speakers is in fact a form of content identity. In this paper, my negative goal is to argue against Cumming’s attempt to construe coordination as content identity, showing that it yields incorrect predictions about certain cases of successful communication. My positive goal is to show how we can avoid Cumming’s problematic interpretation of coordination and still do justice to the relevant data within a coordination-based framework. (shrink)

A semantic framework for interpreting dialogue should provide an account of the content that is mutually accepted by its participants. The acceptance by one agent of another’s contribution crucially involves the theory of what that contribution means; A’s acceptance of B’s contribution means that the content of B’s contribution must be integrated into A’s extant commitments.1 For assertions, traditionally assumed to express a proposition formalised as a set of possible worlds, it was clear how the integration should go: acceptance meant (...) intersecting the newly accepted proposition with the set of worlds representing the content of the agent’s prior commitments. Dynamic semantics (e.g., Asher (1989)) refined this picture by replacing intersection with the operation of dynamic update. The way to treat the negative counterpart of acceptance—namely, rejection—is also clear in principle: A s rejection of B’s assertion means that the negation of the content of B’s contribution should be integrated with the content of A’s prior commitments. However, acceptance and rejection don’t just happen with assertions. These speech acts can happen with questions as well. That is, an agent can choose to address the issues raised by the questioner; he can also choose to reject them. The explicit acceptance of a question can be conveyed by providing a direct answer or by an explicit admittance that one doesn’t know an answer; explicit rejection by uttering I won’t answer. (shrink)

The Picture Theory based on a realist ontology is central to the argument of the Tractatus. Wittgenstein, however, makes idealist claims while discussing the notion of the metaphysical subject. In this paper, I develop an interpretation of this text in which realism and idealism are reconciled. The task is accomplished by focusing on the later remarks of the Tractatus in general and the remarks on death in particular.

Theoretical basis of the article is the interpretation of the lexis as a system, conditioned by the natural unity of the linguistic and extra-linguistic factors. But the main factor that influences the lexical system still is the relations of the reality itself, ordered in this language system. The article discusses the need to create a body of new thesaurus dictionaries of integrated type. The novelty of the problem is based on the achievements of modern linguistics in the study of (...) lexis, as well as the dynamics and variability of modern life when the whole layers of lexical units becoming ''obsolete'' (for example, in sections ''Man'', ''Society'') and quite a significant part of the lexical units on the contrary is updating. The paper defines the principles and forms of creating new generation of the dictionaries of the Russian language. The article concept may be of interest to foreign professionals engaged in lexicography. (shrink)

The purpose of this paper is to present and analyse the biography of a passionate 20th century Romanian tourist who lived in Bucharest and travelled across Europe, bringing his (subjective) travel experiences of Western countries to private and public audiences curious about the unknown “abroad” during the 1980s. This case study is about the life and travel experiences of Vasile A. Marinescu, and deals with their visibility and interpretation during the communist era. The research is based on unpublished sources (...) – visual and audio sources, as well as manuscripts (between 1970 and 1980), interviews – and other already published archive materials. The research describes, in particular, how the West was perceived and presented in those semi-private shows, and how (and which of) those unofficial sources influenced the imagination of Romanians, aside the official propaganda. (shrink)

L’art pictural religieux non figuratif est difficile à interpréter, et encore plus à théoriser. Plusieurs au xxe siècle ont tenté de le faire selon différentes perspectives. On a élaboré des solutions crypto-réaliste, puis expressionniste et, plus récemment, minimaliste. Tous ces points de vue semblent insuffisants pour rendre compte de la dimension religieuse dans l’art non figuratif. On pourrait enfin envisager une quatrième solution, rhétorique cette fois, qui jetterait un éclairage nouveau sur ce genre d’oeuvre tout en proposant quelques clés d’interprétation (...) aux amateurs d’art ainsi qu’aux artistes qui s’y intéressent. Non figurative pictorial art is difficult to interpret and even more difficult to theorize upon. Several attempts to do so were undertaken throughout the 20th century. Crypto-realist, expressionist and minimalist explanations have been proffered. None of these perspectives, however, sufficiently accounts for the religious dimension in non-figurative art. A rhetorical approach may provide a solution which will shed light on this particular form of artistic expression at the same time that it suggests a number of hermeneutical keys that may prove useful to art-lovers and artists alike. (shrink)

This essay defends an analysis of malapropisms consistent with the Simple Picture of communication, namely the view that speakers communicate that P by employing expressions associated with P by the regularities appropriate for the linguistic community to which they belong. My analysis, grounded on the distinction between traces, shapes, and forms, is consistent with an intuitive assessment of the contents conveyed by instances of malapropisms, and with a standard, ‘fully articulated’ approach to semantic interpretation.

I argue that the Holonomy Interpretation, at least as it has been presented in Richard Healey’s Gauging What’s Real, faces serious problems. These problems are revealed when certain approximations and idealizations that are innate in the original formulation of the Aharonov-Bohm effect are thrust aside; in particular, when the temporal dimension is taken into account. There are two ways in which time re-appears in the picture: by considering complete solutions to the original problem, where the magnetic flux is (...) static, and by examining the effects of time dependent magnetic fluxes. Both cases expose explanatory gaps in the Interpretation, as well as conflicts between it and customary ideas about relativistic locality and local action on which the Interpretation depends. (shrink)

In the scholarship on Wittgenstein’s later philosophy of mathematics, the dominant interpretation is a theoretical one that ascribes to Wittgenstein some type of ‘ism’ such as radical verificationism or anti-realism. Essentially, he is supposed to provide a positive account of our mathematical practice based on some basic assertions. However, I claim that he should not be read in terms of any ‘ism’ but instead should be read as examining philosophical pictures in the sense of unclear conceptions. The contrast here (...) is that basic assertions that frame philosophical ‘isms’ are propositional such that they are subject to normal argumentative evaluation, while pictures in Wittgenstein’s sense are non-propositional—they lack a clear truth condition. They, therefore, need clarification rather than argumentation. In this paper, I provide a detailed analysis of Wittgenstein’s treatment of philosophical pictures with special focus on his argument on contradiction. I begin by explaining the problem with this trend of theoretical interpretation, taking Steve Gerrard’s otherwise excellent interpretation as a representative example and pointing out why it is problematic. Next, I will argue that those problems do not arise if we take Wittgenstein’s task as the clarification of philosophical pictures. I do this, first, by explaining Wittgenstein’s method using his argument concerning the Augustinian Picture in Philosophical Investigations and then pointing out that the same method can be identified in the crucial arguments in his philosophy of mathematics. Finally, in order to connect my interpretation with the current scholarship, I will explain the relation of my interpretation with those of New Wittgensteinian scholars. (shrink)

We aimed to identify maternal characteristics predicting interpretation of infant emotions, as well as relations between such interpretations and mother-infant stress. Specifically, we investigated (1) prospective associations between maternal dispositional mindfulness and interpretation of infant emotions, and (2) concurrent associations between maternal interpretation of infant emotions and mothers’ and infants’ cortisol during a dyadic stressor in a non-clinical community sample (n = 78) of mother-infant dyads. Mothers completed the Five Facet Mindfulness Questionnaire at 3 months postnatal, and (...) the IFEEL Picture infant emotion interpretation task at 6 months postnatal. At 6-months, mother-infant dyads completed the Face-to-Face Still Face paradigm, and physiological stress was assessed via salivary cortisol. Regression analyses revealed significant links between aspects of maternal mindfulness – specifically, Observing, Describing, and Acting with Awareness facets – and infant emotion interpretation; more mindful mothers’ emotion ratings were less negatively biased and covered the full spectrum of infant emotions, congruent with the range of responses given by a low-risk reference sample. In turn, less negativity bias and greater interpretive congruence predicted lower infant and mother cortisol during the stress session, with effects small-medium in size. Findings highlight the potential role of maternal interpretation of infant emotions in mindful parenting. (shrink)

Wittgenstein’s Picture Theory of language holds that one fact can represent another, and that propositions are pictures of states of affairs. What makes a fact into a picture of a given s tate of affairs are the correlations between picture elements and objects and the correlations between relations among picture elements and relations among objects. But a problem sometimes raised is that propositions can’t be pictures, as pictures—unlike propositions—do not say anything. An interpretation (e.g. Anscombe’s) (...) holds that the above‐mentioned correlations do make the picture into a proposition. But this neither handles the objection, nor is it Wittgenstein’s view. Further, Wittgenstein’s own account faces serious difficulties in addressing these issues, and the Anscombe‐type interpretation obscures this fact. (shrink)

Kaplan's theory of demonstratives and deicticals can be brie y stated as follows. Expressions of this kind depend for their interpretation on the context of utterance and in a context of utterance they refer directly to whatever they refer to. Direct reference in turn consists in two properties. The rst property is the absence of a Fregean sense. The context does its work once and for all and the reference is not in uenced by a counterfactual circumstance in which (...) something else is pointed at or somebody else is speaking. The second property is the rigidity of the reference: if the reference is direct, it is the same in all possible worlds. It is rigid in a sense slightly stronger than Kripke's, because even in worlds where the object does not exist, the reference is still to the object referred to in the context of utterance. Demonstratives or deicticals can fail to refer when the utterance is abnormal. Consider e.g. a demonstrative without an accompanying pointing gesture or one with a pointing gesture that fails to point to anything. For deicticals we need slightly more imagination: consider an inscription in the beach sand of I am the greatest or an utterance coming from outside of space-time of I am here now. In such cases we have a defective context of utterance. One class of counterexamples to this theory is important in the context of dialogue systems incorporating the facility of pointing in a graphical representation visible on the computer screen: demonstratives used to refer to objects represented in a picture. Kaplan discuError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapError: Illegal entry in bfrange block in ToUnicode CMapsses his pointing to a picture of Spiro T. (shrink)

People who talk about interpretation often suggest that what is interpreted must offer some kind of resistance, in quasiphysical terms. The physics entailed by such suggestions is never fully specified, and for a good reason: it is purely nonexistent. This essay presents arguments against physical fantasies in interpretation, very current in the humanities and the social sciences, and offers a different picture of interpretation. The picture has two parts: interpretation is described as a way (...) of dealing with intentions, motives, purposes, linguistic noises, actions, meanings, and so forth, relative to all sorts of stuff; and interpretation is a default condition, rather than an optional acquired talent. (shrink)

ABSTRACT The two-hundredth anniversary of the publication of Hegel’s Philosophy of Right allows us to provide an array of exciting interpretations of his work. In one interpretation, exemplified by the reactions of Johann Friedrich Herbart (discussed here by Frederick Beiser) and of Karl Marx (discussed here by Jacob Roundtree), Hegel’s holism is a product of a romantic or mystical metaphysics that prioritizes the invisible reality of the Idea over visible realities. In another interpretation (advanced here by Roundtree himself (...) and by Darren Nah, Alan Patten, and Paul Rosenberg), Hegel’s holism is instrumental to preserving individual freedoms or interests by embedding them in a larger cultural or institutional context. A third interpretation, not necessarily incompatible with the second (and exemplified here by contributions from Frederick Neuhouser, Angelica Nuzzo, and Terry Pinkard), treats the Hegelian whole as rational intrinsically, not merely because it is instrumental to other ends. (shrink)

This paper aims to give a substantive account of how Feynman used diagrams in the first lectures in which he explained his new approach to quantum electrodynamics. By critically examining unpublished lecture notes, Feynman’s use and interpretation of both "Feynman diagrams" and other visual representations will be illuminated. This paper discusses how the morphology of Feynman’s early diagrams were determined by both highly contextual issues, which molded his images to local needs and particular physical characterizations, and an overarching common (...) diagrammatic style, which facilitated Feynman’s movement between different diagrams despite their divergent forms and significance. (shrink)

Researchers are required to seek consent from Indigenous communities prior to conducting research but there is inadequate information about how Indigenous people understand and become fully engaged with this consent process. Few studies evaluate the preference or understanding of the consent process for research with Indigenous populations. Lack of informed consent can impact on research findings. The Picture Talk Project was initiated with senior Aboriginal leaders of the Fitzroy Valley community situated in the far north of Western Australia. Aboriginal (...) people were interviewed about their understanding and experiences of research and consent processes. Transcripts were analysed using NVivo10 software with an integrated method of inductive and deductive coding and based in grounded theory. Local Aboriginal interpreters validated coding. Major themes were defined and supporting quotes sourced. Interviews with Aboriginal leaders were facilitated by a local Aboriginal Community Navigator who could interpret if necessary and provide cultural guidance. Participants were from all four major local language groups of the Fitzroy Valley; aged 31 years and above; and half were male. Themes emerging from these discussions included Research—finding knowledge; Being respectful of Aboriginal people, Working on country, and Being flexible with time; Working together with good communication; Reciprocity—two-way learning; and Reaching consent. The project revealed how much more there is to be learned about how research with remote Aboriginal communities should be conducted such that it is both culturally respectful and, importantly, meaningful for participants. We identify important elements in community consultation about research and seeking consent. (shrink)

The question of this work is the relationship between cognition and self-knowledge. That question is approached both by way of Kant on apperception and from the perspective of contemporary theories of mind which locate the origin of our cognitive life in interpersonal, interpretive practices, e.g., Sellars, Davidson, Dennett and Brandom. Kant does not integrate the social dimension into his account of cognition. In fact, many of his arguments for the apperception principle are beholden to a picture of mind which (...) precludes his recognizing the social dimension of cognition. Nonetheless, one can reconstruct a Kantian argument for the apperception principle within the framework of a theory which recognizes the constitutive role of interpretation in cognition. ;Chapter One explores the various ways that the priority of interpersonal interpretation has been claimed. These range from analyses of our talk of the mind as descriptive-predictive strategies to functionalist theories of mind to theories which emphasize the connection between interpreting language and attributing propositional attitudes and the normative dimension of interpretation . Chapter Two outlines seven interpretive questions that any reading of Kant on apperception must address, questions about what Kant means by 'apperception' and the character of the apperception principle. Chapter Three is an analysis of those Kantian arguments for the apperception principle which picture the mind as a private arena, arguments which are untenable from the perspective established in Chapter One. Chapter Four explores Sydney Shoemaker's argument for a functionalist version of Kant's apperception principle and argues that his approach is unsatisfactory. Chapter Five introduces Robert Brandom's theory of propositional attitudes with a discussion of Sellars' theory of sentence meaning and Davidson on the relationship between belief and meaning. Chapter Six then looks at what difference the ability to attribute oneself a propositional attitude might make on Brandom's theory. I argue against Brandom that having a belief or an intention presupposes the ability to explicitly say that one has that belief or intention. Chapter Seven returns to Kant and argues that the analysis and conclusion of Chapter Six are broadly Kantian. (shrink)

A new type of impossible picture is presented and described. The picture involves an object along with its reflection in a plane mirror, delivering two apparently irreconcilable views of the object itself when seen simultaneously in its flesh and in the mirror. Contrary to other, more familiar impossible pictures, its interpretation requires explicit reasoning about the represented reality. It is a slow impossible picture.

I rely on Frascolla's interpretation of the Tractatus ontology to develop an account of depiction in which a picture is conceived of as a visual structure constituted by pixels that are conceived of, in their turn, as elementary propositions. Then I argue that such an account is complementary to the considerations about «noticing aspects» in the Philosophical Investigations, to the extent that the visual structure constituted by pixels provides a design allowing the picture’s viewer to notice aspects. (...) Finally I argue that a joint reading of the considerations about pictures in the Tractatus and in the Philosophical Investigations allows us to address some important issues in the contemporary philosophical debate about depiction. (shrink)

Wittgenstein scholars have tended to interpret the acquisition of certainties, and by extension, of a world-picture, as the achievement of a state in which these certainties are assimilated in a seemingly unconscious way as one masters language-games. However, it has not been stressed that the attainment of this state often involves facing a series of challenges or difficulties which must be overcome for the development of the world-picture and therefore the socialization process to be achieved. After showing, on (...) the one hand, how a world-picture is usually developed, and on the other hand, why a child who seemingly found itself trapped in a precocious skepticism might have serious problems in assimilating certainties, in this paper, I describe some of the challenges children often meet as they acquire a world-picture. Since the overcoming of these challenges is often needed for children to develop a world-picture, I aim at raising the awareness of the necessity of ‘learning to believe’, that is, of developing a series of skills that allow children to undertake the challenges described in this paper. (shrink)