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1

SEARLE ON THE INTENTIONAL CONTENT OF VISUAL EXPERIENCES

100%
Jafarov A.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2015
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vol. 22
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issue 3
345 – 357
EN
There is no unique idea regarding the form of the (Intentional) content part of visual experience in the specification. The philosophers’ approaches diverge as to whether the content of visual experience is equivalent to a sentence expressing proposition or not. Some of them (mainly philosophers from the phenomenological tradition) consider that one must use a proposition for the specification of the content only when the subject, while having a visual experience, exercise a concept or judge. For the other cases, which can be called simple seeing, a noun phrase is preferable. The author argues that holding that specification of Intentional content of the visual experience should be in the form of the proposition. John Searle gives up the first-person Intentionality and therefore bypasses the first-person important distinction between simple seeing and judgmental seeing. The specification of the content only in the form of the proposition does not allow making such a distinction on the level of description. Then the author argues that the feature of the causal self-referentiality of the visual experience belongs to its psychological mode but not, as Searle holds, to the Intentional content of the visual experience.
2

Rzecz o „ważeniu obrazu”. Metafizyka w sztuce czasów „zwrotu ikonicznego” w kontekście tradycji

75%
Solewski R.
Kwartalnik Filozoficzny
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2013
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vol. 41
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issue 1
191 - 211
EN
The article analyzes selected works of contemporary abstract, figurative, and immersive art, paintings and installations (e.g. Mark Grotjahn, David Ligare, James Turell), asking to what extent visual experience is completed by verbal interpretation. Observations allow us to suggest a modification of the radical phenomenological theses (Schopenhauer, Scheler) concerning the distinction between the metaphysics of art and the metaphysics present in verbal discourse. The idea of a metaphysical synthesis created thanks to the poetry of the image and the poetry of interpretation accepts the integrated beauty of an artwork presenting the world of ideas visually and in hermeneutic interpretation. The condition of the efficacy of such a synthesis is, however, respect to moral bienséance, enabling integration and founded metaphysically, as well as the understanding that images and pictures always look for the word proper to their beauty.
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