Bo Allesøe Christensen

What is a fake artwork? This is seldom asked in aesthetics even though judging an artwork as excellent or original implicitly posits criteria for fraudulent or dubious artworks as well. This article presents Nelson Goodman’s proposal of how we are to understand fakes. It will criticize his predominantly cognitive approach for failure of incorporating a sense of aesthetic value, thereby leaving the possibility of artworks which are fakes but nevertheless originals unexplained. Instead Stanley Cavell’s writings on aesthetic judgment are explored establishing a better frame for understanding these artworks.

In this article, we analyse one of the most famous recent thought‐experiments in philosophy, namely Donald Davidson's Swampman. Engaging recent commentators on Davidson's Swampman as well as analysing the spatio‐temporal conditions of the thought‐experiment, we will show how the ‘experiment’ inevitably fails. For it doesn't take seriously some of its own defining characteristics: crucially, Swampman's creation of a sudden in a place distinct from Davidson's. Instead of denigrating philosophical thought‐experiments per se, our analysis points towards considering thought‐experiments in a different sense: imaginary scenarios helpfully self‐deconstructing rather than constituting substantive philosophical resources.

Rom Harré’s career spans more than 40 years of original contributions to the development of both psychology and other human and social sciences. Recognized as a founder of modern social psychology, he developed the microsociological approach ‘ethogenics’ and facilitated the discursive turn within psychology, as well as developed the concept of positioning theory. Used within both philosophy and social scientific approaches aimed at conflict analysis, analyses of power relations, and narrative structures, the development and impact of positioning theory can be understood as part of a second cognitive revolution. Whereas the first cognitive revolution involved incorporating cognition as both thoughts and feelings as an ineliminable part of psychology and social sciences, this second revolution released this cognition from a focus on individuals, and towards a focus of understanding individuals as participating in public practices using public discourses as part of their cognition. This edited volume adds to the scholarly conversation around positioning theory, evaluates Rom Harré’s significance for the history and development of psychology, and highlights his numerous theoretical contributions and their lasting effects on the psychological and social sciences. Included among the chapters: What is it to be a human being? Rom Harré on self and identity The social philosophy of Harré as a philosophy of culture The discursive ontology of the social world Ethics in socio-cultural psychologies Discursive cognition and neural networks The Second Cognitive Revolution: A Tribute to Rom Harré is an indispensable reader for anyone interested in his cognitive-historical turn, and finds an audience with academics and researchers in the social and human science fields of cognitive psychology, social psychology, discursive psychology, philosophy, sociology, and ethnomethodology.

In this chapter, we explore the possible aesthetic import of Moscovici’s social representation theory. Using the German sociologist Georg Simmel, who developed Durkheim’s notion of representation in a dynamic trajectory similar to that of Moscovici, we open up this new area within social representation theory, and especially by understanding representations as forms. In particular, we focus on the tension between the contextualisation and decontextualisation of representations as a way of aligning Moscovici and Simmel. This leads to the creation of a model, connecting, first, the consensual and the reified universes with, second, forms of sociation and socialisation through the tension between contextualisation and decontextualisation as the basis for understanding how social representations can have an aesthetic import.

The aim of the article is to theoretically develop a notion of digital _Bildung_ that accepts the “world” of today as characterised by the entanglement of humans and technology. I draw on Adorno’s critical notion of _Bildung_, Luciano Floridi’s and Katherine Hayles’ respective understandings of the human-technology entanglement, and the social philosophy of the American philosopher Robert Brandom to understand _Bildung_ as a piecemeal process. Nevertheless, _Bildung_ is a rational process of making explicit the implicit connections to which we commit ourselves by being entangled in a tech–non-tech world. The article contributes to delineating a theoretical notion of digital _Bildung_ that accepts and develops _Bildung_ as critically precipitating from within this entanglement—what Brandom terms a semantic self-consciousness.