Kazimierz Twardowski - Content and Object

Content and Object

In his On the Content and Object of Presentations, Twardowski argues for a distinction between content and object in the frame of the theory of intentionality of his teacher Franz Brentano. According to him the mind is divided in two main areas: acts or mental phenomena, and a physical phenomenon. For example an act of presentation is aimed at a presentation. This is what he called ‘intentionality’, aboutness. Every act is about something, but also every presentation goes together with an act of presentation.

This theory suffers from the problem that it is not clear what the presentation exactly is. Is the presentation something only in the mind, or is it also in the world as object? Twardowski says that sometimes presentation is used for the object in the world and sometimes for the immanent content of a mental phenomena.

Twardowski offers a solution for this problem and proposes to make a distinction between the content of a presentation and the object of a presentation.

In his book Twardowski offers an analogy to clarify this distinction. He uses the example of a painting. People say of a landscape that it is painted, but also of a painting that it is painted. In the first case the word ‘painting’ is used in a modifying way (a painted landscape is not a landscape at all), while in the latter case the word painting is used in a qualitative or attributive way. Twardowski argues that presentations are similar. The content is the painted painting and the object is the painted landscape. The content resembles the present ‘picture’ in your mind, and the object the landscape.

Read more about this topic:  Kazimierz Twardowski

Famous quotes containing the words content and, content and/or object:

    In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
    Susan Sontag (b. 1933)

    I am as content to die for God’s eternal truth on the scaffold as in any other way.
    John Brown (1800–1859)

    The Dada object reflected an ironic posture before the consecrated forms of art. The surrealist object differs significantly in this respect. It stands for a mysterious relationship with the outer world established by man’s sensibility in a way that involves concrete forms in projecting the artist’s inner model.
    —J.H. Matthews. “Object Lessons,” The Imagery of Surrealism, Syracuse University Press (1977)