http://hdl.handle.net/2440/15960 2013-05-22T02:55:02Z 2013-05-22T02:55:02Z Mortensen, Christian Edward Nerlich, Graham Charles Cullity, Garrett Michael O'Brien, Gerard Joseph http://hdl.handle.net/2440/77757 2013-05-15T03:30:14Z 2011-12-31T13:30:00Z

Title: Philosophy at the University of Adelaide Author: Mortensen, Christian Edward; Nerlich, Graham Charles; Cullity, Garrett Michael; O'Brien, Gerard Joseph

2011-12-31T13:30:00Z McMahon, Jennifer Anne http://hdl.handle.net/2440/77369 2013-05-03T02:30:11Z 2011-12-31T13:30:00Z

Title: Deflating metaphors and emerging contexts: Messing with your mind in a material world Author: McMahon, Jennifer Anne

2011-12-31T13:30:00Z McMahon, Jennifer Anne http://hdl.handle.net/2440/76993 2013-04-17T01:30:06Z 2011-12-31T13:30:00Z

Title: The aesthetics of perception: form as a sign of intention Author: McMahon, Jennifer Anne Abstract: Aesthetic judgment has often been characterized as a sensuous cognitively unmediated engagement in sensory items whether visual, auditory, haptic, olfactory or gustatory. However, new art forms challenge this assumption. At the very least, new art forms provide evidence of intention which triggers a search for meaning in the perceiver. Perceived order excites the ascription of intention. The ascription of intention employs background knowledge and experience, or in other words, implicates the perceiver’s conceptual framework. In our response to art of every description we witness the incorrigible tendency in humans to construct meaningful narratives to account for events. Such meaningful narratives always implicitly involve the ascription of intention, even when the agent of the intention is not explicitly acknowledged or even clearly conceived. This principle of intention-in-order may seem incompatible with another truism which is that art is a source of novel ideas and essentially a critique of prevailing values and norms including conceptual schemes. I argue on the contrary that the human impulse to read intention in order is a precondition of art’s critical edge. Creativity is possible even though there is no raw perceptual data to which we have conscious access. That is, there are no sensory items, unmediated by the concepts we have internalized through our interaction with our communities, to which we have conscious access.

2011-12-31T13:30:00Z Mortensen, Christian Edward http://hdl.handle.net/2440/76941 2013-04-16T02:30:24Z 2012-12-31T13:30:00Z

Title: Identity taken seriously: a non-classical approach Author: Mortensen, Christian Edward Abstract: Identification of distinct items is a basic technique in mathematics. However, identification suffers from a certain weakness of resolve in that it is (classically) accompanied by dropping the original disidentification, which causes a loss of information about the theory which sources the identity. This article proposes an alternative, namely keeping the disidentification along with the identification. This produces an inconsistent theory which is generally an extension of the source theory. The concept of a Dunn–Meyer extension is defined to study these properties. It is seen that this technique is sensitive to the choice of background logic, particularly RM3 as opposed to closed-set logic. By employing the Routley functor, a best-choice logic is found for this construction.

2012-12-31T13:30:00Z