Nelson Goodman

Universalien der Schrift und Schriftverarbeitung: Zu den schrifttheoretischen Prämissen psychologischer Lesemodelle

by Sonja Häffner

excerpt of »Pictorial Ambiguity«

by Nicolas Romanacci

exycerpt of my Master Thesis, based on a presentation at the conference: »Bilder–Sehen–Denken«, Chemnitz 2009.

Abstract: Ambiguity commonly counts as a specific feature of art, implying quite general importance. Though authors... more Abstract: Ambiguity commonly counts as a specific feature of art, implying quite general importance. Though authors like Gombrich did stress its importance for an aesthetic analysis, there’s no comprehensive study at hand regarding ambiguity in art that offers an investigation of the symbol theoretical, the media-specific and the epistemological aspects of ambiguity. My investigation aims to contribute to a view on ambiguity that explores these aspects (or ›levels‹) and particularly also tries to relate these levels to each other – presuming that a differentiated theoretical discourse serves as an important point of departure for a differentiated description of different types of ambiguity, to be precisely elaborated through analysing specific and concrete works of art. Subsequently, it is intended that only differentiated results of investigating the ›theoretical level‹ and the ›media level‹ can serve as a sound reference for statements on a ›general level‹. One basic point of departure for my investigation is the view on interpreting aesthetic experience in terms of treating an artwork as a symbolic object (understood in a conceivable broad sense). Therefore we have to look closely at the ways of reference an artwork has to offer, for this is one important way to analyse how an artwork can be understood. I want to forge an application of this general ›cognitive‹ approach to an analysis of concrete artworks and propose to interprete my investigation as exemplifying an approach to an ›applied cognitive aesthetics‹. This article is an excerpt from my study providing some examples from the applied ›media level‹ and closing with some epistemological considerations.

WANN IST KREATIVITÄT ?* Experiment, Exemplifikation, Erkenntnis. Ansatz zu einer Typologie experimenteller Gestaltungsmethoden in Verbindung mit bildungsphilosophischen Überlegungen. Eine Untersuchung im Rahmen einer »Epistemologie der Gestaltung« im Ausgang von Nelson Goodmans Symbol- und Erkenntnistheorie, mit Bezügen u.a. zu Ludwig Wittgenstein, John Dewey und Hans-Jörg Rheinberger.

by Nicolas Romanacci

in:

Kongress-Akten der Deutschen Gesellschaft für Ästhetik

Band 2: Experimentelle Ästhetik
VIII. Kongress der Deutschen Gesellschaft für Ästhetik 2011
Herausgegeben von Ludger Schwarte

Le management des entreprises à prestations artistiques: activités de conception, régimes de signification et potentiel de croissance

by mathias bejean

Representatie en betekenis. Een plaats voor Gadamer in het hedendaagse representatiedebat? (Master's Thesis)

by Elise Kuylen

The Bechtel Room: A Guide to the Portraits

by Jason Pannone

2010; Revised July 2011.

This is a guide to the portraits in Emerson Hall 107 (The Bechtel Room), Department of Philosophy, Harvard University,... more This is a guide to the portraits in Emerson Hall 107 (The Bechtel Room), Department of Philosophy, Harvard University, Cambridge, Massachusetts, with an appendix of sources on the history of philosophy at Harvard and in the United States.

While it is, on one level, merely a guide to portraits, there is, on another level, a good deal of the history of philosophy at Harvard and in the United States during the 20th century contained herein.

Diairesis in later Platonic Texts and Modern Epistemological Predicaments

by Byron Kaldis

Platonism and Forms of Intelligence, ed. by J. Dillon & L. Zovko, Akademie Verlag Publishers, Berlin

Un mot pour une chose

by Tatjana Barazon

published in Res per Nomen 2, Presses universitaires de Reims, 2010

A word for a thing- creation and representation in the work of Nelson Goodman

Nelson Goodman would... more A word for a thing- creation and representation in the work of Nelson Goodman

Nelson Goodman would certainly have called my paper “A thord for a wing”, as he understands language as potentially creating a reality. Words are usually considered representing a reality that exists already before them. According to Goodman, language can also create new realities and therefore reflect the changing of states. As shown by his creation “grue” reflecting a hypothesis that is not yet confirmed by reality, the creative power of language is the fundamental tool in which we express the flux of things. In this sense, Goodman’s work is much more similar to William James’ than to W.V.O. Quine’s. The latter remains very realistic and states that it is useless to search for a hidden meaning which would explain why we use one word and not another. There is no intrinsic relationship between words and things, says Quine. Goodman agrees with that statement but turns the argument around. Words can create things, and give new states in reality a new existence by giving them a name.

«dousir» et «plaileur»: l'énigme de l'attribution d'expériences

by Alexandre Billon

Draft only, published in philosophie

This article puts forward a solution to the problem of other minds in terms of affective empathy. I compare the... more This article puts forward a solution to the problem of other minds in terms of affective empathy. I compare the problem of other minds to other contemporary skeptical challenges put forward by Nelson Goodman and Saoul Kripke. Because it deals with persons the problem of other minds is both more pressing and harder to answer in a deflationary way. Empirical studies of autistic children and psychopaths have shown that we must distinguish affective from cognitive empathy. I argue that when other people are considered in an objective and detached way, I can only access their mind through cognitive empathy, and the problem of other minds admits no solution. When I am really acquainted with someone, on the other hand, I can access his or her mind through affective empathy, I can then become certain of some of his or her experiences, and the problem of other minds becomes literally absurd.