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{"id":6454,"date":"2021-02-19T10:26:44","date_gmt":"2021-02-19T08:26:44","guid":{"rendered":"http:\/\/demosites.gr.dedi4051.your-server.de\/philosophy.upatras\/demo1\/?page_id=6454"},"modified":"2024-01-30T12:09:35","modified_gmt":"2024-01-30T09:09:35","slug":"john-zeimbekis","status":"publish","type":"page","link":"https:\/\/philosophy.upatras.gr\/en\/staff\/dep-staff\/john-zeimbekis\/","title":{"rendered":"John Zeimbekis"},"content":{"rendered":"

John Zeimbekis on Google scholar<\/a><\/p>\n

Education<\/strong><\/p>\n

Admission to the School of Civil Engineering, University of Patras.
\n\u0392.\u0391. (Hons.), Philosophy, Trinity College, Dublin.
\nPhD., Philosophy, Ecole des Hautes Etudes en Sciences Sociales, Paris.
\nMellon Postdoctoral Fellow in Philosophy, University of Pennsylvania.<\/p>\n

Selected publications<\/strong><\/p>\n

Zeimbekis, J., “Perceptual warrant and internal access”, Philosophical Studies<\/em> 180, Issue 1, 2023: 191-206. https:\/\/link.springer.com\/article\/10.1007\/s11098-022-01897-0<\/a><\/p>\n

Casati, R., Kulvicki, J. and Zeimbekis, J. “Borgesian maps”<\/a>,\u00a0Analytic Philosophy<\/em> 63, Issue 2, 2022: p. 90-98.<\/span><\/p>\n

Zeimbekis, J., “Malleability or cognitive effects on recognition?”<\/a>, book symposium on Dustin Stokes, Thinking and Perceiving<\/em>, Brains Blog, Sept. 2021.<\/p>\n

Zeimbekis, J., “Pictorial experience and perceptual activity”, in J. Pelletier and A. Voltolini,\u00a0Pictorial Experience<\/em>, New York: Routledge, Routledge Research in Aesthetics, 2019; pp. 93-124.<\/p>\n

Zeimbekis, J., “La Beaut\u00e9”,\u00a0Petit Trait<\/em>\u00e9<\/em>\u00a0des Valeurs<\/em>, Ed. J. Deonna and E. Tieffenbach, Paris: Ithaque, Collection Science et M\u00e9taphysique,\u00a02018; pp. 50-60.<\/p>\n

Zeimbekis, J., “Perceiving facial emotions: late visual effects?”, extended invited comment on D. E. Gatzia, “Cognitive penetration and top-down modulation in visual perception”,\u00a0Minds Online<\/em><\/a>, Sept. 2016.<\/p>\n

Zeimbekis, J. and Raftopoulos, A.,\u00a0<\/em>The Cognitive Penetrability of Perception: New Philosophical Perspectives<\/em><\/a>, Oxford University Press, 2015.<\/p>\n

Zeimbekis, J.,\u00a0“Seeing, visualizing and believing”<\/a>, in Zeimbekis and Raftopoulos,\u00a0The Cognitive Penetrability of Perception<\/em>, Oxford University Press, 2015; pp. 298-327.<\/p>\n

Raftopoulos, A. and Zeimbekis, J.,\u00a0“Cognitive Penetrability: An Overview”<\/a>, in\u00a0The Cognitive Penetrability of Perception<\/em>, Oxford University Press, 2015; pp. 1-56.<\/p>\n

Zeimbekis, J., “Why digital pictures are not notational representations”,\u00a0Journal of Aesthetics and Art Criticism<\/em>, 73.4, 2015: pp. 449-453.<\/p>\n

Zeimbekis, J., “Color and cognitive penetrability<\/a>“,\u00a0Philosophical Studies<\/em>\u00a0165.1, 2013: 167-175<\/p>\n

\u00ab\u0397 \u03b4\u03b5\u03af\u03be\u03b7 \u03c4\u03cd\u03c0\u03c9\u03bd \u03c3\u03c4\u03b7\u03bd \u03b1\u03bd\u03c4\u03af\u03bb\u03b7\u03c8\u03b7 \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03c0\u03c1\u03ac\u03be\u03b7\u00bb,\u00a0\u0394\u03b5\u03c5\u03ba\u03b1\u03bb\u03af\u03c9\u03bd<\/em>\u00a029\/1-2, 2012: 167-175.<\/p>\n

\u0396\u03b5\u03ca\u03bc\u03c0\u03ad\u03ba\u03b7\u03c2, \u0399., \u201c\u0393\u03b5\u03b3\u03bf\u03bd\u03cc\u03c4\u03b1 \u03ba\u03b1\u03b9 \u03b1\u03be\u03af\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ae\u201d, \u03c0\u03c1\u03b1\u03ba\u03c4\u03b9\u03ba\u03ac \u03c4\u03bf\u03c5 \u03b4\u03b9\u03b5\u03b8\u03bd\u03bf\u03cd\u03c2 \u03c3\u03c5\u03bd\u03b5\u03b4\u03c1\u03af\u03bf\u03c5 \u039a\u03bf\u03c3\u03bc\u03ac\u03c2 \u03a8\u03c5\u03c7\u03bf\u03c0\u03b1\u03af\u03b4\u03b7\u03c2, \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03b9\u03b1\u03ba\u03ad\u03c2 \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039a\u03c1\u03ae\u03c4\u03b7\u03c2, \u03b5\u03c0\u03b9\u03bc. \u0392. \u03a4\u03c3\u03b9\u03bd\u03cc\u03c1\u03b5\u03bc\u03b1, \u03c5\u03c0\u03cc \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7.<\/p>\n

Zeimbekis, J., \u201cDigital pictures, sampling, and vagueness: the ontology of digital pictures\u201d,\u00a0Journal of Aesthetics and Art Criticism<\/em>\u00a070.1, 2012: 43-53. (\u0397\u03bb. \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7 \u03b5\u03b4\u03ce.<\/a>)<\/p>\n

Zeimbekis, J., \u201cThought experiments and mental simulations\u201d, in K. Ierodiakonou & S. Roux,\u00a0Thought Experiments in Methodological and Historical Contexts<\/em>, Leiden: Brill. 193-215. (\u0395\u03ba\u03b4\u03bf\u03c7\u03ae \u03c0\u03c1\u03bf \u03b4\u03b9\u03bf\u03c1\u03b8\u03ce\u03c3\u03b5\u03c9\u03bd\u00a0\u03b5\u03b4\u03ce<\/a>.)<\/p>\n

Zeimbekis, J., \u201cPictures and singular thought\u201d,\u00a0Journal of Aesthetics and Art Criticism<\/em>, 68.1, 2010: 11-21. (\u0397\u03bb. \u03ad\u03ba\u03b4.<\/a>)<\/p>\n

\u0396\u03b5\u03ca\u03bc\u03c0\u03ad\u03ba\u03b7\u03c2, \u0399., \u00ab\u039f \u03b1\u03bd\u03c4\u03b9\u03bb\u03b7\u03c0\u03c4\u03b9\u03ba\u03cc\u03c2 \u03c1\u03b5\u03b1\u03bb\u03b9\u03c3\u03bc\u03cc\u03c2 \u03ba\u03b1\u03b9 \u03b7 \u03b5\u03be\u03b1\u03b3\u03c9\u03b3\u03ae \u03b1\u03bd\u03c4\u03b9\u03bb\u03b7\u03c0\u03c4\u03b9\u03ba\u03ce\u03bd \u03b5\u03c1\u03bc\u03b7\u03bd\u03b5\u03b9\u03ce\u03bd\u00bb,\u00a0\u039d\u03cc\u03b7\u03c3\u03b9\u03c2<\/em>\u00a06, 2010: 117-125 (\u03b5\u03b9\u03b4\u03b9\u03ba\u03cc \u03c4\u03b5\u03cd\u03c7\u03bf\u03c2 \u03b1\u03c6\u03b9\u03b5\u03c1\u03c9\u03bc\u03ad\u03bd\u03bf \u03c3\u03c4\u03b7 \u03b3\u03bd\u03c9\u03c3\u03b9\u03b1\u03ba\u03ae \u03b4\u03b9\u03b1\u03c0\u03b5\u03c1\u03b1\u03c4\u03cc\u03c4\u03b7\u03c4\u03b1 \u03c4\u03b7\u03c2 \u03b1\u03bd\u03c4\u03af\u03bb\u03b7\u03c8\u03b7\u03c2, \u03b5\u03c0\u03b9\u03bc. \u039a. \u03a0\u03b1\u03b3\u03c9\u03bd\u03b4\u03b9\u03ce\u03c4\u03b7\u03c2 \u03ba\u03b1\u03b9 \u0392. \u039a\u03b9\u03bd\u03c4\u03ae).<\/p>\n

Zeimbekis, J., \u201cPhenomenal and objective size<\/a>\u201d,\u00a0No\u00fbs<\/em>\u00a043.2, 2009: 346-362. (\u0397\u03bb. \u03ad\u03ba\u03b4.\u00a0\u03b5\u03b4\u03ce<\/a>\u0387 \u03b5\u03ba\u03b4\u03bf\u03c7\u03ae \u03c0\u03c1\u03bf \u03b4\u03b9\u03bf\u03c1\u03b8\u03ce\u03c3\u03b5\u03c9\u03bd\u00a0\u03b5\u03b4\u03ce<\/a>.)<\/p>\n

Zeimbekis, J.,\u00a0Qu\u2019est-ce qu\u2019un jugement esth\u00e9tique?<\/em>, \u03a0\u03b1\u03c1\u03af\u03c3\u03b9, Vrin, 2006 (\u03ba\u03b5\u03c6\u03ac\u03bb\u03b1\u03b9\u03b1 1 & 2\u00a0\u03b5\u03b4\u03ce<\/a>).<\/p>\n

Dorsch, F., Stejskal, J., and Zeimbekis, J.,\u00a0Proceedings of the European Society for Aesthetics<\/em>, vol. 3, 2011.<\/p>\n

\u0396\u03b5\u03ca\u03bc\u03c0\u03ad\u03ba\u03b7\u03c2, \u0399., \u00ab\u039c\u03af\u03bc\u03b7\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03b8\u03b5\u03c9\u03c1\u03af\u03b1 \u03c4\u03b7\u03c2 \u03c0\u03c1\u03bf\u03c3\u03bf\u03bc\u03bf\u03af\u03c9\u03c3\u03b7\u03c2\u00bb,\u00a0\u03a7\u03c1\u03bf\u03bd\u03b9\u03ba\u03ac \u0391\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ae\u03c2<\/em>\u00a045, 2009: 291-307.<\/p>\n

Zeimbekis, J., \u201cLe statut \u00e9pist\u00e9mique des photographies\u201d, inS. Darsel & R. Pouivet,\u00a0Ce que l\u2019art nous apprend<\/em>, Presses Universitaires de Rennes, 2008. 127-139.<\/p>\n

Zeimbekis, J., \u201cArt, representation et fiction: un \u00e9tat des lieux\u201d,\u00a0Critique<\/em>\u00a0720, 2007: 268-281.<\/p>\n

Zeimbekis, J.,\u00a0Dictionnaire d’Esth\u00e9tique<\/em>, Paris: Armand Colin, 2007. \u039b\u03ae\u03bc\u03bc\u03b1\u03c4\u03b1\u201cRepr\u00e9sentation\u201d, \u201cR\u00e9f\u00e9rence\u201d, \u201cAttitude esth\u00e9tique\u201d, \u201cJugement esth\u00e9tique\u201d, \u201cConduite esth\u00e9tique\u201d, \u201cSatisfaction\u00a0esth\u00e9tique\u201d.<\/p>\n

\u0396\u03b5\u03ca\u03bc\u03c0\u03ad\u03ba\u03b7\u03c2, \u0399., \u201c\u03a5\u03c0\u03ac\u03c1\u03c7\u03bf\u03c5\u03bd \u03b1\u03b9\u03c3\u03b8\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b1\u03be\u03af\u03b5\u03c2;\u201d,\u00a0\u0394\u03b5\u03c5\u03ba\u03b1\u03bb\u03af\u03c9\u03bd<\/em>\u00a025.1, 2007: 79-95.<\/p>\n

Zeimbekis, J., \u201cQu\u2019est-ce que l\u2019esth\u00e9tique analytique?\u201d, in M. Ouelbani,\u00a0La philosophie analytique dans tous ses \u00e9tats<\/em>, Presses Universitaires de Tunis, 2007. 43-58.<\/p>\n

Zeimbekis, J.,\u00a0\u201cPropositional attitudes in fiction\u201d<\/a>,\u00a0British Journal of Aesthetics<\/em>, 44.3, 2004: 261-276. (\u0397\u03bb. \u03ad\u03ba\u03b4.<\/a>)<\/p>\n

Zeimbekis, J., \u201cPropri\u00e9t\u00e9s esth\u00e9tiques et \u00e9valuation\u201d,\u00a0Revue Francophone d\u2019Esth\u00e9tique<\/em>, 2003.1: 25-47.<\/p>\n

Zeimbekis, J.,\u00a0Approches du probl\u00e8me du sens en esth\u00e9tique<\/em>, \u03b4\u03b9\u03b4\u03b1\u03ba\u03c4\u03bf\u03c1\u03b9\u03ba\u03ae \u03b4\u03b9\u03b1\u03c4\u03c1\u03b9\u03b2\u03ae, Ecole des Hautes Etudes en Sciences Sociales, \u03a0\u03b1\u03c1\u03af\u03c3\u03b9, 2000.<\/p>\n

Under review
\n<\/span><\/p>\n

Zeimbekis, J., “Nonconceptual modes of presentation”<\/p>\n

Zeimbekis, J.,\u00a0Pictures, Perception and Meaning<\/a>.<\/em><\/p>\n

Zeimbekis, J.,\u00a0“Memory, perception and non-inferential warrant”<\/a><\/p>\n

Zeimbekis, J., “Indiscriminability, identity, and soritic paradoxes”<\/p>\n

Other publications (selection)<\/span><\/p>\n

\u00ab\u0391\u03c0\u03cc \u03c4\u03bf\u03bd \u03bc\u03cd\u03b8\u03bf \u03c3\u03c4\u03bf \u03bb\u03cc\u03b3\u03bf\u00bb<\/a>,\u00a0\u0392\u03ae\u03bc\u03b1 \u0399\u03b4\u03b5\u03ce\u03bd<\/em>, 07 \u039c\u03b1\u03ca\u03bf\u03c5 2010.<\/p>\n

\u00ab\u0397 \u03ad\u03bd\u03bd\u03bf\u03b9\u03b1 \u03c4\u03b7\u03c2 \u03b1\u03c5\u03b8\u03b5\u03bd\u03c4\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2\u00bb<\/a>,\u00a0Cogit\u03bf<\/em>\u00a07, 2008.<\/p>\n

\u039a\u03c1\u03b9\u03c4\u03b9\u03ba\u03ae \u03bc\u03b5\u03bb\u03ad\u03c4\u03b7<\/a>\u00a0\u03c4\u03bf\u03c5 Zeimbekis, J. Revue critique de J. Morizot, Qu\u2019est-ce qu\u2019une image?,\u00a0Revue Francophone d\u2019Esth\u00e9tique<\/em>\u00a04, 2007: 132-134.<\/p>\n

\u201cReplicative forgery\u201d<\/a>, \u03c0\u03c1\u03b1\u03ba\u03c4\u03b9\u03ba\u03ac \u03c4\u03bf\u03c5 \u03b4\u03b9\u03b5\u03b8\u03bd\u03bf\u03cd\u03c2 \u03c3\u03c5\u03bd\u03b5\u03b4\u03c1\u03af\u03bf\u03c5\u00a0Fake: why does it matter?<\/em>, ENS Paris, Archives des Ateliers Art et Cognition, 2004.<\/p>\n

 <\/p>\n

Academic Distinctions<\/strong><\/p>\n