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1

FAULTLESS DISAGREEMENT CONTEXTUALISM

100%
Davies A.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2021
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vol. 28
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issue 3
557 – 580
EN
It is widely assumed that the possibility of faultless disagreement is to be explained by the peculiar semantics and/or pragmatics of special kinds of linguistic construction. For instance, if A asserts “o is F” and B asserts this sentence’s denial, A and B can disagree faultlessly only if they employ the right kind of predicate as their “F”. In this paper, I present an argument against this assumption. Focusing on the special case when the expression of interest is a predicate, I present a series of examples in which the same pairs of sentences are employed, but in different contexts. In some cases, we get an impression of faultless disagreement and in some cases we don’t. I identify a pattern across these contexts and conclude that faultless disagreement is made possible, not by a special kind of predicate, but instead by a special kind of context.
2

KONTEXTUALIZMUS A IMANENTIZMUS V ESTETIKE MARCELA PROUSTA

100%
Huba J.
ARS
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2022
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vol. 55
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issue 1
51 - 58
EN
This article deals with the issues of immanentism and contextualism concerning the literary and critical work of Marcel Proust. First, it compares several authors’ works and notes Proust’s methods in interpreting works of art. Then, based on Proust’s thought, it problematizes the temporality of art, the relation of art to social reality, and the author’s biography. From this position, I believe I can approach the core of Proust’s aesthetics more systematically than if I had stayed with the psychology of art or analyses of memory or the aesthetic situation.
3

INDEXIKALIZMUS, SÉMANTICKÝ MINIMALIZMUS A PRAVDIVOSTNÝ OBSAH

100%
Zouhar M.
Filozofia (Philosophy)
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2012
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vol. 67
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issue 9
705 – 717
EN
It is sometimes claimed that the semantic (i.e., truth-conditional) content of an utterance consists of the semantic contents of its constituting expressions and their mode of composition, i.e., all constituents of the semantic content correspond to some linguistic item in the sentence uttered or other. This is claimed in particular by the proponents of the so-called semantic minimalism. The paper aims to show that indexicalism, which is often supposed to be a rival to semantic minimalism, is in fact a version of it. Indexicalism is willing to recognize, over and above explicit linguistic items, also the implicit ones. It is argued in the paper that semantic minimalism is capable to accommodate this idea without much ado.
4

ILLOCUTIONARY DISAGREEMENT IN FAULTLESS DISAGREEMENT

100%
Karczewska N.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2021
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vol. 28
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issue 3
531 – 556
EN
The debates over the problem of faultless disagreement have played a major role in shaping the landscape of today’s semantic theories. In my paper, I argue that even though the existent of contextualism-friendly proposals explain a lot of disagreement data by specifying various ways in which speakers may use subjective predicates, neither provides a satisfactory account which would explain what all the subjective disagreements have in common. In particular, what is lacking is an explanation of the persistent auto-centric cases (Lasersohn 2004), i.e., disagreements in which each speaker utters a subjective sentence while openly and knowingly occupying his or her own perspective. In my paper, I offer a solution which consists in supplementing the standard contextualist semantics with an explanation of this most problematic class of cases, which is possible due to re-describing the phenomena in speech act nomenclature.
5
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Hommage a Jan Świdziński. Próba wprowadzenia do sztuki jako sztuki kontekstualnej

88%
Piotrowski K.
Sztuka i Dokumentacja
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2009
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issue 1
5-20
EN
Jan Swidzinski (b. 1923) has been the one of the main representatives of the post-conceptual movement since mid-seventies. His artistic doctrine Art as Contextual Art (published in February 1976), considered in confrontation with Joseph Kosuth's tautological model of art, makes it possible to appreciate Swidzinski's contribution to overcome the hegemony of conceptualism and New York. Swidzinski was right to indicate that conceptualism of the Art and Language group and Kosuth, although it did try to bring back the profound meaning of art (art is a meaning, not decoration) by introducing non-artistic considerations (self-consciousness), but in fact replaced the traditional formalism of art with the formalism of the neo-positivistic philosophy which was hard to maintain. Kosuth's thesis that the works of art are analytical and tautological sentences - was a mistake because Wittgenstein's theory of meaning as a method of expression, implied an entropy of meaning in art and revealed a need for some sort of verification of the theory of the meaning itself. The tautological model as a relativistic one, while assuming a self-reflection in the autonomous context of art, did not answer the question: why is the term 'art' used this way and not in a different way? So, in 1975 Swidzinski compared the artifacts not to analytical sentences but to sentences comprising intensional functors (their veracity depends upon the contents replacing the variables). The intensionality of artistic statements, that is to say, the presence of functors in them (I know, I believe, I suppose, I must etc.) studied by the epistemological or deontological logic, indicates that they are restricted by the pragmatic moment of experience. Swidzinski declared that Art as Contextual Art is an opposition to the multiplication of meaning, and thus to relativism, and at the same time he recognized the dissimilarity and changeability of contexts, stating that what is real in one context is not real in another, and therefore he tried to sanction relativism. This is the perspective shown in his book Art, Society and Self-consciousness (1979) in which he attempted to define the structure of intensionality as the antagonistic one. In the global context there coexist various logics that regulate our image of the world: the logic of norms, the logic of freedom, the epistemological logic and the logic of a game. The awareness of the intensional structure of the context requires from us today to work out a model of culture, different from the absolutistic and relativistic one, a model in which the repressive opposition of absolutism and relativism have lost significance. It is a question: what society should be? The book is an introduction to Swidzinski's Freedom and Limitation - The Anatomy of Postmodernism (1987). Today, in my opinion, Swidzinski does not resemble the old contextualist who would foster the intentions of a traveller-researcher. He is more of a neo-pragmatic contextualist-tourist. But his doctrine is very important for our understanding of the present art and culture, though the debate between Kosuth's conceptualism and Swidzinski's contextualism appears only to be a case of the history of conceptism and, last but not least, wit (ingenium comparans).
6

UNIVERSALISTIC'S CONCEPT OF CIRCUMSTANCES OF JUSTICE AND SCOPES OF ITS PRACTICAL USE (Universalistska kontseptsia obstavyn spravedlyvosti ta mezhi yii praktychnoho vykorystannia)

88%
Kiryukhin D.
Філософська Думка
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2010
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issue 4
76-86
EN
The main theme of the article is formation of the theory of justice that could help in solving the applied ethics' problem (such as gender equality, death lethal injection, the death penalty etc.). Two paradigms in modern theory of justice - universalism and contextualism - are analyzed from the viewpoint of this approach. Circumstances of justice are one of the basic principles of universalistic paradigm. But on the basis of this principle one cannot give the answer to the problems which applied ethics confronts with. Contextualist paradigm considers justice in the context of certain social practice. As we can see, the comprehension of justice as the rule that determines the social practices of exchange, punishment, distribution and recognition enables to solve the applied ethics problems. The theory of justice that is developed within the framework of the contextualist's paradigm has a great potential.
7

Zależność kontekstowa w paradygmacie semantyki kompozycyjnej

88%
Bogucki K.
Kwartalnik Filozoficzny
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2018
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vol. 46
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issue 3
25-47
EN
The Principle of Compositionality is the principle stating that the meaning of an expression is a function of (and only of) the meanings of its parts together with the method by which those parts are combined. The paper concerns the relationship between this principle and the phenomenon of context dependence. In a compositional language, it seems, the meaning of an expression depends upon the meanings of its parts in a bottom-up fashion, so some philosophers (e.g. Fodor&Lepore) argued that compositionality places a context-independence constraint on the properties of lexical meanings. However, some others philosphers (e.g. Szabo, Recanati) don’t see context-dependence as a challenge to the compositionality of language. This poses questions about the methodological status of the principle of compositionality, possible justifications of the principle, and various constraints on language required by compositional semantics. In the article I propose a version of the principle of compositionality which can help us deal with the phenomenon of context dependence. Then I investigate its formal representation and the effective arguments from context-dependence against thus formulated principle of contextual compositionality. The last part of the article concerns the relationship between the computability of a function and the compositional interpretation of a sentence.
8
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Model logiki logika modelu. Kilka uwag krytycznych na marginesie teorii "sztuki jako sztuki kontekstualnej"

88%
Łukasiewicz B.
Sztuka i Dokumentacja
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2010
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issue 2
5-25
EN
The aim of this article is to critically analyse the theory of 'art as contextual art' by Jan Swidzinski. The theory of 'art as contextual art' has not been reconstructed sufficiently in terms of its logical constitution, or its formal assumptions. The area that should be analysed, through the means of logic, becomes analysed per analogiam: that is through searching until we find the simplest and the most obvious comparisons with other contemporary, or past art theories. Swidzinski claims that the logic of the game described by him, is a useful depiction of processes that take place in the reality that surrounds us, whereas the theory of 'art as contextual art' itself contains a set of events referred to as 'the logic of a game'. This text attempts to answer the following question: What do we need to verify the above assertion? (as well as others posted by Swidzinski.) Swidzinski attempts to employ the models outlined in the essay to reveal the conflicts brought on by the misunderstandings of concepts used to describe the worlds we live in. As such, models are inscribed in the long tradition going back to Hegel. They are also present in the writings of Marquard, Habermas, Welsch and Foucault; this is irrespective of the fact that the scopes of their conceptualisation differ within the writings of these writers. The models are the one of many ways in which reality may be encompassed. Their usability is determined by some particular aims. Finally, the models serve for Swidzinski to rationalise the crisis in art. It seems rather obvious that the ability to verify them is periodical – the facts, inasmuch, may both support and refute them. The essay tries to find an answer to a question: what if the categories used by the theory of 'art as contextual art' have the ability to describe reality, but only in relation to the past which is being negated and refuted by them? Doing so, they do not directly determine what the current state is, but what it is not, in relation to what has become to be accepted as such. This is a deductive method and what is more, a negative one (it is defined by negation). In this approach the theory of 'art as contextual art' turns out to be yet another archive, another collection of truths and norms. The worst that we could have done is to treat it as true. It will never be true, it will never be fully refuted, just like in the case of truths, aspiring to the status of righteousness, which will never be verified. Perhaps, what matters here is simply to remember to never accept anything as true by belief or habit. And perhaps persistently refute, verify and redefine those truths.
9

DETERMINANTS OF MEANING: INVISIBLE, THOUGH UBIQUITOUS CONTEXT

75%
Tasseva E.
Filozofia (Philosophy)
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2013
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vol. 68
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issue 10
877 – 889
EN
In the course of research on the essence of meaning, different concepts appear as theoretical derivatives of the intuitive notion of meaning, depending on which of the key determinants of meaning (reference, inference, or context) dominate the respective line of study. On the basis of underlying specific philosophical aspects of alternative conceptual apparatuses gravitating to the relevant determinants, various competing and arguing philosophical schools (“-isms”) emerge, e. g. referentialism, inferentialism, contextualism. While the development of the first two starts from a certain determinant and ends with corresponding “-ism”, the third, contextualism, has followed another model ‒ the context itself as a general determining category is left in the background. The question is still waiting to be seriously dealt with, as to what sort of needs the non-linguistic use of the notion of context meets, and what characteristics of context, as a linguistic category, justifiably spread into other areas. Here an attempt is made to draw attention to several basic properties of context and to its potential and prospective of functioning as a general logical and philosophical category.
10
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KwieKulik i konceptualizm w uwarunkowaniach PRL-u. Przyczynek do analizy problemu

63%
Załuski T.
Sztuka i Dokumentacja
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2012
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issue 6
79-88
EN
Until now, the artistic practices of a duo named KwieKulik, founded between 1971-1987 by Przemysław Kwiek and Zofia Kulik, were placed outside of conceptual art. I am not presenting here a simple thesis that KwieKulik were conceptual artists, but I attempt to formulate an introductory question about the complex relationship in which they situated themselves in response to conceptualism. In one of the interviews, the artists claimed that they could never be ‘pure conceptual artists’. I wonder, however, if the activity of the duo may be framed in a category of some ‘impure conceptualism’ whose important aspect is to be found in exposing the conditions of life and work in the People's Republic of Poland . To achieve this one needs to investigate thoroughly the artists stance towards the hegemonic term of ‘conceptualism’ whilst highlighting all of their actions that had any conceptual feature and to define a specific, individual form which appeared in the network of relationships with other elements of artistic practice. In my text I explain how one should understand ‘conceptualism’ as ‘a hegemonic term’ that organises and imposes itself onto an agonistic field of innovative art practices — not only in the West, but also in Poland. In this context, undertaking the question of “KwieKulik and conceptualism” opens a new perspective for a counter-hegemonic reinterpretation of conceptualism in the People's Republic of Poland. Without rejecting the term ‘conceptualism’, one needs to look at the questions related to it through the prism of an individual case of the KwieKulik duo. It should also allow the practices of both artists to make an imprint on ‘conceptualism’. In the last part of my text, I limit myself to a series of ‘contributive’ notes which may be treated as orientation points in an appropriate analysis of the conceptual aspects of the art of KwieKulik.
11
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WŁADZA VS. SZTUKA W PRL-U I DZIŚ

45%
Guzek Ł.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2016
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vol. 21
36-47
EN
POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY The basis of this study is Mark Wlodarczyk’s paper on research methodology of art history in Polish People’s Republic, especially in the 1950’s. Włodarczyk put the thesis that power in that decade, standing under the banner of Stalinism, introduced elements of a thaw in the art, but at the same time they continued the policy of repression. Meltdown was an immanent part of policy. However, policy enforcement can be seen in the pragmatics of government throughout the entire period of communism. Hence the thesis of this article on the dialectics of thaw and repression as the dominant instrument of power used in art, as this area of power relations is discussed here. Among the examples, there are mainly those from the seventies, for a period of domination of conceptual art is considered a period when artists concentrated on the autonomy of art, and abandoned their social engagement in order to avoid repression. That consensus with the government, however, was apparent. Artists still challenged the tolerance of power and thus triggered a dialectic of thaw and repression, and the government showed its totalitarian face. After 1989, the power in a democratic system is distributed, therefore the dialectic of thaw and repression loses its functionality. Also, Włodarczyk described the situation in Poland after the elections of 2015. He believes that political and totalitarian method of governance brings back functionality of dialectic thaw and repression against contemporary art.
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