My purpose is to refute the intentionalist approach to perception. Drawing from mainstream literature, I identify a principle on which any version of intentional theory relies. My paper is a detailed ...attack on the truth of the principle. In the first section I will introduce terminology and will taxonomize various statements of the intentional view. In the second section I will briefly outline a sketch of the skeletal intentionalist theory that develops from the assumption of the principle alone. Then, in the third section, I will advance my reasons against this theory. In the fourth section, I will set forth anintuitive and definitive counterexample to the adequacy of the principle of intentionalism to accounting for ordinary perception. Moving from this, in the fifth section, I will provide some reasons explaining why intentionalism is condemned at being unsuccessful. Finally, in the last section of the paper, I will give my conclusions.
The article analyzes the novel “Živite v Moskve” (2000) by the conceptual writer and artist Dmitrij Prigov (1940–2007). The main aim of the paper is to find out how the author approaches the issue of ...memory and remembering. The article shows that the novel does not attempt to reconstruct the factual past events. It uses memory as an instrument for the production of fictional events which are based on the narrative and discursive schemata embedded in the narrator’s conscience. Therefore, the act of remembering can be seen as platonic anamnesis (recollection). It means that the narrator recollects the schemata, however, the latter do not exist as “pure” forms, but they are graspable only in the form of a very concrete literary realization.
In this paper, I propose a novel interpretation of the role of the understanding in generating the unity of space and time. On the account I propose, we must distinguish between the unity that ...belongs to determinate spaces and times - which is a result of category-guided synthesis and which is Kant's primary focus in §26 of the B-Deduction, including the famous B160-1n - and the unity that belongs to space and time themselves as all-encompassing structures. Non-conceptualist readers of Kant have argued that this latter unity cannot be the product of categorial synthesis. While they are correct that this unity is not the product of any particular act of category-guided synthesis, I argue that conceptualists are right to nevertheless attribute this unity to the understanding. I argue that it is a result of what we can think of as the 'original' synthesis of understanding and sensibility themselves - it is a synthesis, moreover, in which the whole is logically prior to the parts.
This article is the first to explore the relationship of Moscow conceptual artists with the creative and moral legacy of the Russian avant-garde of the 1910s-1920s. In the 1960s, the previous ...generation of Soviet non-official artists resonated with the avant-garde legacy upon getting acquainted with it and attempted to continue the tradition seen precisely as a formal experiment. Meanwhile, the Moscow conceptualist circle recognized Russian avantgarde as a conceptual source for the consequent ideologization of the entire reality and as a project of the violent transformation of life. And if social realism was a more obvious opponent for conceptualists, the forbidden art of the avant-garde became its own Other, alien in a very close and uncomfortable sense. The relations articulated in Moscow conceptualism over several decades were different and ambiguous; they developed and evolved as the legacy of the avant-garde became more familiar and as the socio-political and cultural context changed. In the 1970s, the conceptual art practice did not seek a ‘dialogue’ with the avant-garde, and the reflections of the older generation of Moscow conceptualists were marked with intention to dissociate themselves from the avant-garde and its aesthetic systems (the discussion of the political engagement of the avantgarde was pushed forward for later reflections, mainly into the 2010s). The 1980s brought liberalization into the study and exhibiting of the Russian avant-garde, and its admiration became a kind of duty that was taken ironically by the next generation of Moscow conceptual artists. To get international recognition, contemporary Russian art required to establish any affiliation (negative, if not positive) with the brand of the ‘Russian avant-garde’. The artistic practice of Ilya Kabakov has radically escalated the polemics with the avant-garde, which was subsequently projected onto the entire Moscow conceptualism. However, the exploration into the history of Moscow conceptualism as a response to the avant-garde project reveals heterogeneity of such a response, comprising individual halftones and historical dynamics.
There is a category of choreographic practice with a lineage stretching back to mid-20th century North America that has re-emerged since the early 1990s: dance as a contemporary art medium. Such work ...belongs as much to the gallery as does video art or sculpture and is distinct from both performance art and its history as well as from theater-based dance. The Persistence of Dance: Choreography as Concept and Material in Contemporary Art clarifies the continuities and differences between the second-wave dance avant-garde in the 1950s‒1970s and the third-wave starting in the 1990s. Through close readings of key artists such as Maria Hassabi, Sarah Michelson, Boris Charmatz, Meg Stuart, Philipp Gehmacher, Adam Linder, Agatha Gothe-Snape, Shelley Lasica and Latai Taumoepeau, The Persistence of Dance traces the relationship between the third-wave and gallery-based work. Looking at these artists highlights how the discussions and practices associated with “conceptual dance” resonate with the categories of conceptual and post-conceptual art as well as with the critical work on the function of visual art categories. Brannigan concludes that within the current post-disciplinary context, there is a persistence of dance and that a model of post-dance exists that encompasses dance as a contemporary art medium.
Linguistic personology has remained a popular linguistic direction in Russia for more than thirty years. This discipline studies a native speaker or a linguistic personality with their own worldview, ...mentality, language fluency, linguistic creativity, and ability to understand someone else’s speech. The famous Russian philologist Vladimir V. Kolesov (1934–2019) was a prominent figure in Russian linguistics. However, in his last publication, he criticized both the term linguistic personality and the entire linguistic personology. Although specialists overlooked this criticism, it is important for linguistic personology. This article reveals the philosophical and methodological foundations of V. V. Kolesov’s criticism, as well as interprets the arguments he published in 2009-2021. First, the authors traced the development of anti-personological trends in V. V. Kolesov’s lifetime publications. Second, they identified the prerequisites for the criticism of the theory of linguistic personality. Third, they analyzed the posthumous publication of The Conceptual Field of Russian Consciousness as a synthesis that reinterpreted the previous criticism. The methods of contextual analysis, reconstruction, philological hermeneutics, and comparison made it possible to obtain two theoretical models that explain V. V. Kolesov’s conclusions about linguistic personology. The authors believe that the last thirty years of V. V. Kolesov’s scientific work was a gradual slide towards recognizing linguistic personality as an important tool in describing mentality.
Divine Conceptualism is a solution to the problem that Platonism poses for theism. This view is put forward by Alvin Plantinga and Greg Welty, two contemporary American philosophers, argues for a ...Platonic realism about propositions, possible worlds, and mathematical abstract objects; That is, although it considers these abstract objects to exist, it considers them to be concrete and not abstract, and in order to reconcile with theism, it considers these objects as the thoughts of God. Craig, a contemporary American theist philosopher, argues that this view can not be considered a sutible solution; Because it is not acceptable to consider abstracts as mathematical objects as concrete; In addition, conceptualism has difficulty in justifying false propositions. Conceptualism also requires God's attribution to malicious thoughts, and in Welty's interpretation of conceptualism, the challenge of Platonism remains. Examining what has been done, it seems that some of Craig's objections to Welty and Plantinga's view of conceptualism are true. More serious objections of conceptualism can also be introduced into Welty and Plantinga's views. Plantinga and Welty have neglected intuitive(direct) Knowledge and reduced God's knowledge to acquired(indirect) knowledge; For if the knowledge of God is to be regarded intuitively, while at the same time realizing the realities of mathematics, propositions, and possible worlds, these objects are simply present in the existence of God; Not in the sense of separate concepts.
O presente artigo tem o objetivo de discutir criticamente posições representacionistas e antirepresentacionistas no que se refere à experiência perceptual – ao mesmo tempo em que procura tomar ...posição em favor da primeira em detrimento da segunda. Tendo como ponto de partida o chamado “Debate entre John McDowell e Charles Travis”, pretendemos, no intuito de contornarmos as pressões antirepresentacionistas de Travis, defender aquelas que poderiam ser duas noções de ver como/que (seeing as/seeing that): de um lado, a ideia mcdowelliana de que conteúdos pensáveis (thinkables) podem figurar na experiência perceptual; de outro, uma proposta fenomenológica, que entende o conteúdo representacional da experiência perceptual em termos de seu significado.
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