Understanding minimalism

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Contexts, non-specificity, and minimalism

Atlas (2007) argues that semantic minimalism (as defended by Cappelen & Lepore 2005) fails because it cannot deal with semantic non-specificity. I argue that thereis a plausible version of minimalism-viz., situated minimalism-which doesn't succumb to the non-specificity charge insofar as non-specificity can be dealt with at a postsemantic level. Thus, pragmatics plays no rolewhen it comes to determining the (minimal) proposition expressed. Instead, pragmatic and other extra-semantic considerations enter the scene in characterizing the situation vis-à-vis which the proposition is evaluated. For this reason a plausible form of minimalism must embrace a form of truth-relativism: a proposition is not universally true/false, but true/false only relative to a situation. I show how the position defended is not only (i) more cognitively plausible than either (semantic) minimalism as proposed by Cappelen & Lepore or the positions appealing to pragmaticintrusion into the proposition expressed, but is also (ii) in accordance with ordinary people's intuitions.

The nomenclature of style: Brutalism, Minimalism, art history and visual style in architecture journals

The naming of styles or movements is a basic mechanism of the architectural journals. The announcement of new tendencies, groups or philosophies, gives a journal its character as ‘news’, and if such terms are taken up in general discourse this demonstrates the prescience of the editor and enhances the repute of the journal. The announcement of phenomenon such as ‘critical regionalism’ or ‘deconstructivism’ referred architectural developments to a context in socio-politics or philosophy, and thus aimed to provide at least an initial resistance to their understanding as the formal styles which they quickly became. A different strategy, or occasion, which this paper will discuss, is where the name of an architectural moment is given in the traditional form of an art historical style. Here the nomenclature of style and a certain attitude to form is introduced as the starting point for a more open ended critical inquiry. Two examples of this strategy will be given. The first is Peter Reyner Banham and the Architecture Review’s promotion of ‘Brutalism’ as an anti-aesthetic which took its conceptual form from early twentieth century art movements, particularly Futurism. The second, identified with Architectural Design in the 1990’s is ‘Minimalism’, a term describing a strand of the visual arts of the 1960’s which can be understood as an attempt to nuance and add seriousness to the present rampant nostalgia for the style of the architecture of the 1960’s.

Erasing erasure

This paper argues that the distinction between deletion and erasure proposed by Chomsky (1995) to account for different checking possibilities should be abandoned on both conceptual and empirical grounds. As an alternative, the paper outlines an analysis based solely on deletion.

Pogge -vs- Sen on Global Poverty and Human Rights

This Paper is part of a broader project examining the ways in which Amartya Sen’s “capability approach” provides a framework for thinking about global poverty as a denial or a violation of basic human rights. The Paper compares the “capability approach” as a basis for thinking about global poverty and human rights with the alternative framework developed by Thomas Pogge. Both the “capability approach” and Pogge’s theory of “severe poverty as a violation of negative duties” support the idea of “freedom from severe poverty as a basic human right”. However, there are important differences. The Paper examines the limitations of Pogge’s “apparent minimalism” and establishes the ways in which Sen’s treatment of the “capability approach” and human rights moves beyond a “minimalist normative position” whilst avoiding Pogge’s charge of “implausibility”.

Bits et Rarezas : deux compositions assistées par ordinateur

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU)

Wittgenstein et le conventionnalisme : une critique du contextualisme sémantique de François Recanati

Dans Literal Meaning, François Recanati cherche à montrer que ce qui est dit lorsqu’une phrase est prononcée correspond à un contenu fondamentalement pragmatique. À cet effet, il propose deux arguments généraux qui consistent à faire valoir que ce qui est dit est indéterminé si l'on s'en tient aux règles de la sémantique. Le premier de ces deux arguments tente d’établir que dans bien des cas, le contenu sémantique supposément associé à une phrase ne correspond pas à ce qui est dit. Le second est plutôt une élaboration de la thèse wittgensteinienne suivant laquelle la signification des types linguistiques est indéterminée. Pour ma part, je soutiens que si nous adoptons effectivement une conception wittgensteinienne de la signification, certains des exemples supposés illustrer le premier de ces deux arguments peuvent et doivent être critiqués.

Shôjo mangá: de Gengi Monogarati a Miou Takaya

Pós-graduação em Artes - IA