John Dilworth

thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be vindicated by reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted.

Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common token. The investigation also raises some significant issues concerning artistic printmaking, and strongly suggests in addition that two new concepts of interpretation--of identifying and constitutive interpretation--are required to adequately explain the artistic phenomena that are uncovered.

There are no unicorns, but there are representations of them, hence motivating an explanation of discourse about the property 'unicorn' in terms of discourse about representations of unicorns. I show how to extend this strategy to apply to any kind or property terms. References to property instances may be explained as references to comprehensive representations of them, which represent all of the (supposed) properties of such an instance--unlike 'ordinary' representations, which are distinctive in that they represent only some limited subset of such properties, through use only of some proper subset of their own (supposed) properties. This representationalist approach results in a very economical naturalist ontology, which has no need for properties.

I argue that perceptual content involves representations both of aspects of objects, and of objects themselves, whether at the level of conscious perception, or of low-level perceptual processing - a double content structure. I present an 'orientational' theory of the relations of the two kinds of perceptual content, which can accommodate both the general semantic possibility of perceptual misrepresentation, and also species of it involving characteristic perceptual confusions of aspectual and intrinsic content. The resulting theoretical structure is argued to be a broadly methodological or logical one, rather than a substantive theory that is open to empirical refutation

Journal of Mind and Behavior 28 no. 2 , pp. 135-156. The self-prompting theory of consciousness holds that conscious perceptual experience occurs when non-routine perceptual data prompt the activation of a plan in an executive control system that monitors perceptual input. On the other hand, routine, non-conscious perception merely provides data about the world, which indicatively describes the world correctly or incorrectly. Perceptual experience instead involves data that are about the perceiver, not the world. Their function is that of imperatively prompting the perceiver herself to do something (hence

In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting that which the words ordinarily refer to or describe when being used literally.

The outlines of a novel, fully naturalistic theory of perception are provided, that can explain perception of an object X by organism Z in terms of reflexive causality. On the reflexive view proposed, organism Z perceives object or property X just in case X causes Z to acquire causal dispositions reflexively directed back upon X itself. This broadly functionalist theory is potentially capable of explaining both perceptual representation and perceptual content in purely causal terms, making no use of informational concepts. However, such a reflexive, naturalistic causal theory must compete with well entrenched, supposedly equally naturalistic theories of perception that are based on some concept of information, so the paper also includes some basic logical, naturalistic and explanatory criticisms of such informational views.

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy.

There is some intuitive plausibility to the idea that composers create musical works by indicating sonic types in a historical context. But the idea is technically indefensible as it stands, requiring a thorough representational reform that also eliminates the type-theoretic commitments of current versions. On the reformed account, musical 'indication' is an operation of high level representational interpretation of concrete sounds, that can both explain the creativity of composers, and the often successful interpretations of their listeners. This approach also bypasses contentious issues regarding the status of both indicated and 'initiated' types, as extensively discussed in the BJA.

The highly enjoyable experiences associated with drinking good wines have been widely misunderstood. It is common to regard wine appreciation as an analytical or quasi-scientific kind of activity, in which wine experts carefully distinguish the precise sensory qualities of each wine, and then pass on their accumulated factual knowledge to less experienced wine enthusiasts. However, this model of wine appreciation is seriously defective. One good way to show its defects is to provide a better and more fundamental scientific account of what is involved in wine appreciation. In order to do so, I outline a novel, evolutionarily based theory of perceptual consciousness that explains why there must be imaginative as well as analytical kinds of experiences of wines. In addition, imaginative wine experiences, unlike typical imaginative artistic experiences, may be shown to involve highly individualistic, improvisatory elements that help to give wine drinking a unique place among the recreational arts.

The naturalistic voluntary control (VC) theory explains free will and consciousness in terms of each other. It is central to free voluntary control of action that one can control both what one is conscious of, and also what one is not conscious of. Furthermore, the specific cognitive ability or skill involved in voluntarily controlling whether information is processed consciously or unconsciously can itself be used to explain consciousness. In functional terms, it is whatever kind of cognitive processing occurs when a conscious state is voluntarily chosen. This leads to a bivalent view of cognitive processing in which there is voluntary choice either of non-routine (conscious) or routine (unconscious) kinds of processing. On this VC account, consciousness could not exist without its being possible to voluntarily choose a non-routine kind of processing.

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for plays and for the related performing art of music as well.

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays.

A concrete proposal is presented as to how semantics should be naturalized. Rather than attempting to naturalize propositions, they are treated as abstract entities that index concrete cognitive states. In turn the relevant concrete cognitive states are identified via perceptual classifications of worldly states, with the aid of an interactive theory of perception. The approach enables a broadly realist theory of propositions, truth and cognitive states to be preserved, with propositions functioning much as abstract mathematical constructs do in the nonsemantic sciences, but with a much more specific propositional indexing scheme than previous naturalistic proposals were able to achieve.

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms.

I argue that there is an ambiguity in the concept of indiscernibility as applied to objects, because there are two different categories of properties, associated with two different ways in which all of the pre-theoretical 'properties' of an object may be identified. In one structural way, identifications of properties are independent of any particular spatial orientation of the object in question, but in another 'field' way, identifications are instead dependent on an object's particular spatial orientation, so that its properties as thus identified in one orientation are distinct from its properties as identified in any other orientation--all of which ‘field’ properties must hence also be distinct from the previous structurally defined properties. To accommodate the two kinds of intrinsic properties, the standard concept of indiscernibility is redefined as structural indiscernibility, while a new concept of field indiscernibility is introduced. I argue among other things that, though two objects may be structurally indiscernible under all orientational (and other) conditions, those objects may nevertheless fail to have field indiscernibility with each other under some orientational conditions. I also briefly discuss the implications of these results for general issues about the nature of properties, and of realist versus nominalist approaches to them.

ABSTRACT Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend the legitimacy of the example, and conclude by offering an alternative, representational view of the nature of films that can also more adequately explain the interpretive nature of experience of a film.

Utilitarian (U.) theories must be capable of being applied in practical reasoning, or they would have no value as a guide to rational conduct. However, I show that epistemic extensions to U. theories produce logical confusion. Basic questions about what one needs to know in order to apply a U. analysis embroil one in an infinite regress. And attempts to incrementally apply U. either are no help at all (leaving one entirely 'in the dark'), or in general constitute arbitrary gambles which no practical reasoner could defend taking. These problems are serious enough to completely discredit U. theories as having any relevance to practical reasoning.

I propose a new kind of meta-ethical theory, grounded in a theory of interests and of the modifications required in order to render interests compatible with each other. The theory hence is called "Interest Compatibilism" (IC). A basic account of the nature of interests, and of possible relations between them, is also included. Ethical values turn out to be those involved in optimally desirable forms of harmonization and control of interests and their associated values. The theory is presented and developed with the aid of specific comparisons to more standard deontological and consequentialist ethical theories and views. Utilitarian consequentialist views are particularly criticised, and suggestions for an improved consequentialist view incorporating aspects of the IC approach are developed. Whether or not the IC theory is acceptable as a whole, I argue that some such alternative consequentialist theory is desperately needed. My account of interests should be independently acceptable also.

Purpose: The purpose of this paper is to analyze the theology of suffering from a biblical perspective by using literature review as methodology. Methodology: One of the foundational evangelical presuppositions for theological research is that Scripture is divinely authored and is therefore without error, and authoritative for our faith and practice. Findings: The study found that suffering is biblical and should be expected by all Christians as they are not exempted from it, unlike prosperity teaching. Suffering has the purpose of refining and maturing our faith. Further, it is to display the greatness of the glory of the grace of God. Unique Contribution to theory and practice: Therefore, it is recommended for Christians to depend on God at all seasons by asking for wisdom and grace from him. So in this paper, the relationship between suffering and the sovereignty of God and its implication to the church will be discussed with a particular focus on John Piper's work.