My strategy for answering anti-representational attacks is to sketch a general mechanistic framework, the purpose of which is to constrain the notion of representation without deciding which features representational mechanisms may have, as this may be discovered only empirically.
In conclusion, I show how the account of representational mechanisms vindicates a robust notion of representation.
Conceivably someone might balk at the inference from veridicality/nonveridicality to representational content, regarding the notion of representation as requiring more than mere veridicality conditions.
In order to explain it and to formulate a specific conjecture, we came up with the notion of "representation stability" for a sequence of representations of groups.
At that time, the holistic notion of representation characteristic of the Middle Ages was transformed into a more individualistic conception, one that made the individual the critical unit to be counted.
He reviews other philosophical accounts of implementation and computational explanation and defends a notion of representation that is compatible with his mechanistic account and adequate vis à vis the four models discussed earlier.
He reviews other philosophical accounts of implementation and computational explanation and defends a notion of representation that is compatible with his mechanistic account and adequate vis a vis the four models discussed earlier.
In it, Richard Rorty argued that, beginning in the seventeenth century, philosophers developed an unhealthy obsession with the notion of representation: comparing the mind to a mirror that reflects reality.
(Scanlan's inclusion in the 2014 Whitney Biennial prompted the withdrawal of the Yams Collective, a group of black artists who wrote in a statement that "the possibility of this figure somehow producing increased 'representation' for black artists both furthers the reduction of black personhood and insults the very notion of representation as a political or collective engagement").
John Dilworth, in American Philosophical Quarterly and The Journal of Aesthetics and Art Criticism, has suggested that the notion of representation helps explain the nature of both dramatic text and theatrical performance, where a play is a type and performance is a token of that type (Dilworth, 2002a, b).
