Gaetano Licata

According to some philosophers, philosophical realism is an obsolete, specious and irrelevant conceptio. In this essay I argue that this thesis is deeply flawed because the issue of realism is philosophically inescapable. Then I discuss two versions of philosophical realism that are particularly widespread today: common sense realism and scientific realism. These conceptions tend to be hegemonic, and consequently often in conflict with each other. The biggest challenge for philosophical realism over the next few years will be to try and harmonize them

The paper discusses Maurizio Ferraris’ Documentalità by raising two objections. The first objection concerns Ferraris’ view that, in the case of all natural entities, there cannot be differences in the way a normal adult, a little child and an animal perceive them. It is claimed that this is not true for objects such as the sun that we (differently from little children and animals) cannot help perceiving as a gigantic hot celestial body. The second objection concerns the thesis that all social objects presuppose a written act. In this case the claim is that it is unclear which philosophy of mind can support such a view.

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements

Normativity concerns what we ought to think or do and the evaluations we make. For example, we say that we ought to think consistently, we ought to keep our promises, or that Mozart is a better composer than Salieri. Yet what philosophical moral can we draw from the apparent absence of normativity in the scientific image of the world? For scientific naturalists, the moral is that the normative must be reduced to the nonnormative, while for nonnaturalists, the moral is that there must be a transcendent realm of norms. _Naturalism and Normativity_ engages with both sides of this debate. Essays explore philosophical options for understanding normativity in the space between scientific naturalism and Platonic supernaturalism. They articulate a liberal conception of philosophy that is neither reducible to the sciences nor completely independent of them—yet one that maintains the right to call itself naturalism. Contributors think in new ways about the relations among the scientific worldview, our experience of norms and values, and our movements in the space of reason. Detailed discussions include the relationship between philosophy and science, physicalism and ontological pluralism, the realm of the ordinary, objectivity and subjectivity, truth and justification, and the liberal naturalisms of Donald Davidson, John Dewey, John McDowell, and Ludwig Wittgenstein

Everything you wanted to know about direct reference and always dared to ask is contained in Recanati's new book, which is not only a comprehensive survey on the received doctrine but also an original attempt to find a new way out of the many puzzles which surround the "new theory of reference" (in H. Wettstein's words) since its origins. Principles and conceptions are indeed acutely specified and Recanati's own theses are argued for in a very subtle and rigorous way. One cannot leave the volume without the impression that his understanding of the subject has been radically deepened and enlightened. A thorough analysis of such a detailed work would probably need a paper as long as the volume itself. Thus, I will limit myself to reconstruct three general aims of the book and to discuss some of the issues they raise. These aims are: i) to find a new criterion for the referentiality of directly referential terms (from now on, DR terms); ii) to develop a multi-layered pragmatics which allows one to deal pragmatically with what has been hitherto considered as belonging to a semantic layer only; iii) to put forward a truth-conditional pragmatic analysis of belief reports which accounts for the semantic import of the non truth-conditional thought underlying a linguistic utterance. Let me deal with i) first. Recanati puts forward a criterion of referentiality which in his mind allows one to tell de jure rigid designators (names, indexicals: what we have above labeled DR terms) from de facto ones (definite descriptions such as "the cube root of 27"). The former, not the latter, directly designate their referent since they are type-referential. He defines type-referentiality as follows: A term is (type)-referential if and only if its linguistic meaning includes a feature, call it 'REF', by virtue of which it indicates that the truth-condition ... of the utterance where it occurs is singular. (p.17) Suppose we take the following two utterances, "3 is odd" and "The cube root of 27 is odd", where the former contains a de jure, the latter a de facto, rigid designator. Although both utterances have singular truth-conditions, let us say are associated with a singular proposition to the effect that the number 3 is odd, the former, but not the latter, presents itself as true iff 3 is odd, i.e..

According to an intuitive claim, in saying that one sees a picture's subject, i.e., what a picture presents, in the picture's vehicle, i.e., the picture's physical basis, by ‘in’ one does not mean the spatial relation of being in, as holding between such items in the real space. For the picture's subject is knowingly not in the real space where one veridically sees the picture's vehicle. Some theories of pictorial experience have actually agreed with this intuition by claiming that the picture's subject lies in a pictorial space of its own, disconnected from the real space that includes the picture's vehicle. Yet, not only linguistic evidence suggests that when used as above, ‘in’ means precisely that very relation, but an appropriate theory of pictorial experience can justify the above claim.

: In Cognitive penetrability and the epistemic role of perception Athanasios Raftopoulos provides a new defense of the thesis that, unlike early vision, late vision is cognitively penetrable, in accordance with a new definition of cognitive penetrability that is centered on the ideas of direct influence of cognition upon perception and of the epistemic role of perception. This new definition allows him to maintain that late vision is a genuinely perceptive stage of the perceptual process. In this paper, I try to discuss not only whether this new definition has plausible consequences that allow only late vision to be cognitively penetrable but also whether the claim that late vision is genuinely perceptual allows it to have the kind of hybrid content, half nonconceptual and half conceptual, that Raftopoulos now wants to ascribe to it. Keywords: Cognitive Penetrability, weak, strong, and superstrong; Early and Late Vision; Nonconceptual Content Penetralibità cognitiva e visione secondaria Riassunto: In Cognitive penetrability and the epistemic role of perception Athanasios Raftopoulos dà una nuova difesa della tesi secondo cui, a differenza della visione primaria, la visione secondaria è penetrabile cognitivamente, secondo una nuova definizione della nozione di penetrabilità cognitiva centrata sulle idee di influenza diretta della cognizione sulla percezione e di ruolo epistemico della percezione. Questa nuova definizione gli consente di sostenere che la visione secondaria è una fase genuinamente percettiva del processo percettivo. Nell’articolo, provo a discutere non solo se la nuova definizione ha conseguenze plausibili che consentono solo alla visione secondaria di essere penetrabile cognitivamente, ma anche se l’idea che la visione secondaria sia genuinamente percettiva consente ad essa di avere il contenuto ibrido, in parte nonconcettuale e in parte concettuale, che Raftopoulos vuole ora ascriverle. Parole chiave: Penetrabilità cognitiva debole, forte e superforte; Visione primaria e secondaria; Contenuto nonconcettuale

That we can learn something from literature, as cognitivists claim, seems to be a commonplace. However, when one considers matters more deeply, it turns out to be a problematic claim. In this paper, by focusing on general revelatory facts about the world and the human spirit, I hold that the cognitivist claim can be vindicated if one takes it as follows. We do not learn such facts from literature, if by “literature” one means the truth-conditional contents that one may ascribe to textual sentences in their fictional use, i.e., in the use in which one makes believe that things unfold in a certain way. What we improperly call learning from literature amounts to knowing actually true conversational implicatures concerning the above facts as meant by literary authors. So, in one and the same shot, we learn both a general revelatory fact and the fact that such a fact is meant via a true conversational implicature by an author. The author draws that implicature from the different truth-conditional content a sentence possesses when the sentence is interpreted in a fictional context, meant as Kaplan’s (1989) narrow context, i.e., a set of circumstantial parameters (agent, space, time, and world).

As many people have underlined, as regards pictures there are at least two different layers of content. In Voltolini, these layers are: i) the figurative content of a picture, i.e., what one can see in it viz. what the picture presents; ii) the pictorial content of a picture, i.e., what the picture represents, as constrained by its figurative content. As regards ii), there undoubtedly ispictorial misrepresentation. Having the possibility of misrepresenting things is a standard condition in order for a picture to be a representation. Yet as regards i), things are more problematic. First, if one intends that a picture is seen in a way that is impossible for the picture to be seen, there definitely is intentional failure, but there is no figurative mispresentation. Second, alleged cases in which one literally sees in a picture something that does not match what the picture presents are not cases of figurative presentational failure either.

In the Tractatus, Wittgenstein seems to appeal to the idea that thoughts manage to explain how sentences, primarily elementary sentences, can be such that their subsentential elements refer to objects. In this respect, he seems indeed to appeal to the claim that thoughts, qua endowed with not only original, but also intrinsic, intentionality, lend this intentionality to names, by transforming them into ‘names-of’, i.e., symbols endowed with intrinsic intentionality as well. Such a claim, however, entails that there must be necessary superfacts. Since according to the Tractatus’ ontology there cannot be necessary facts in the world, but at most only in its logical scaffolding, the most likely chance is that such facts are facts for the limit of the world, i.e., the transcendental subject. Curiously enough, in his later critique, in the Investigations, of mentalist semantics, Wittgenstein fails to appeal to this claim, which can block the infinite regress that he there changes the mentalist position with. Since in the Investigations necessary facts seem to be allowed, this failure is even more striking.

As far as I can see, there are two basic ways of cashing out the claim that intentionality is ultimately phenomenal: an indirect one, according to which the intentional content of an experiential intentional mental state is determined by the phenomenal character that state already possesses, so that intentionality is so determined only indirectly; a direct one, which centers on the very property of intentionality itself and can further be construed in two manners: either that very property is determined by the above phenomenal character, or it is a sui generis phenomenal property, thereby giving its own contribution to the overall phenomenal character of that state. Yet neither way sounds ultimately satisfying. For the indirect way may work only under the assumption that intentionality is monadic. Since the direct way explicitly endorses this assumption, the indirect way must give pride of place to it. Yet the direct way seems to be unsuccessful, in any of its forms. Thus, the phenomenal intentionality research program ought to give way to another research program concerning intentionality.

In this paper I want to hold, first, that one may suitably reconstruct the relevant kind of mental representational states that fiction typically involves, make-beliefs, as contextually unreal beliefs that, outside fiction, are either matched or non-matched by contextually real beliefs. Yet moreover, I want to claim that the kind of make-believe that may yield the mark of fictionality is not Kendall Walton’s invitation or prescription to imagine. Indeed, in order to appeal in terms of make-believe to a specific form of imagination that fiction distinctively involves, one must move away from the realm of norms in order to attain a cognitive realm; namely, one must look at a specific form of metarepresentational state. This metarepresentational state of make-believe is a second-order representation that is about both real beliefs and make-beliefs, as the first-order representations it compares by acknowledging their contextual distinctness.