Phenomenal intentionality is supposed to be a kind of directedness of the mind onto the world that is grounded in the conscious feel of mental life. This book of new essays explores a number of issues raised by the notion of phenomenal intentionality.

We intuitively make a distinction between _lying_ and _misleading_. On the explanation of this phenomenon favored here—the _adverbial_ account—the distinction tracks whether the content and its truth-committing force are literally conveyed. On an alternative _commitment_ account, the difference between lying and misleading is predicated instead on the strength of assertoric commitment. One lies when one presents with full assertoric commitment what one believes to be false; one merely misleads when one presents it without full assertoric commitment, by merely hinting or (...) otherwise implying it. Now, as predicted by the well-supported assumption that we can also assert with pictures, the lying/misleading distinction appears to intuitively show up there too. Here I’ll explain how the debate confronting the two accounts plays out both in general and in that case, aiming to provide support for the adverbial account. (shrink)

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

Pictures are notably absent from the current debate about how to define lying. Theorists in this debate tend to focus on linguistic means of communication and do not consider the possibility of lying with photographs, drawings and other kinds of pictures. The aim of this paper is to show that such a narrow focus is misguided: there is a strong case to be made for the possibility of lying with pictures and this possibility allows for insights concerning the question of (...) how lying should be defined. (shrink)

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

Abstract In this essay, I will argue that images can play a substantial role in argumentation: exploiting information from the context, they can contribute directly and substantially to the communication of the propositions that play the roles of premises and conclusion. Furthermore, they can achieve this directly, i.e. without the need of verbalization. I will ground this claim by presenting and analyzing some arguments where images are essential to the argumentation process. Content Type Journal Article Pages 1-14 DOI 10.1007/s10503-011-9259-y Authors (...) Axel Arturo Barceló Aspeitia, Instituto de Investigaciones Filosóficas, Universidad Nacional Autónoma de México, Cto. Mario de la Cueva s/n, Cd. Universitaria, Coyoacán, 04500 DF, Mexico Journal Argumentation Online ISSN 1572-8374 Print ISSN 0920-427X. (shrink)

Caricature undeniably excels at mocking people and their foibles. But is this mode of depiction limited to human beings? Can animals, objects, or even abstract concepts be caricatured? The first goal of this paper is to trace the limits of the caricaturable and see how far they extend beyond the human figure. The second goal is to understand how the wondrous modification enacted by caricature works. To do so, I analyze the features that caricature selects, and argue that such features (...) have a relational nature—they are instantiated by the depicted subject but their sense hinges on implicit norms. I then outline the deep structure of reference exploited by caricature for depicting. Finally, I use this account to unravel the paradox of caricature: how can a picture both misrepresent its subject and prompt an accurate recognition? I defend the controversial claim that caricature per se does not amount to misrepresentation. (shrink)

ABSENCE is the claim that, if a symbol appears on a map, then absence of the symbol from some map coordinate signifies absence of the corresponding property from the corresponding location. This claim is highly intuitive and widely endorsed. And if it is true, then cartographic representation is strikingly different from linguistic representation. I argue, however, that ABSENCE is false of various maps and that we have no reason to believe it is true of any maps. The intuition to the (...) contrary results from mistaking what a map simply conveys for what it literally represents. (shrink)

It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.

According to Uriah Kriegel’s self-representational theory of consciousness, mental state M is conscious just in case it is a complex with suitably integrated proper parts, M 1 and M 2, such that M 1 is a higher-order representation of lower-order representation M 2. Kriegel claims that M thereby “indirectly” represents itself, and he attempts to motivate this claim by appealing to what he regards as intuitive cases of indirect perceptual and pictorial representation. For example, Kriegel claims that it’s natural to (...) say that in directly perceiving the front surface of an apple one thereby perceives the apple itself. Cases such as this are supposed to provide intuitive support for the principle that if X represents Y, and Y is highly integrated into complex object Z, then X indirectly represents Z. In this paper I provide counterexamples to Kriegel’s principle of indirect representation, before going on to argue that we can explain what is going on in those cases in which the subject seems to represent a complex whole by representing one its parts without positing indirect representations anyway. I then argue that my alternative approach is superior to Kriegel’s in a number of ways, thereby rendering his theory of consciousness implausible. (shrink)

This paper explores early Australasian philosophy in some detail. Two approaches have dominated Western philosophy in Australia: idealism and materialism. Idealism was prevalent between the 1880s and the 1930s, but dissipated thereafter. Idealism in Australia often reflected Kantian themes, but it also reflected the revival of interest in Hegel through the work of ‘absolute idealists’ such as T. H. Green, F. H. Bradley, and Henry Jones. A number of the early New Zealand philosophers were also educated in the idealist tradition (...) and were influential in their communities, but produced relatively little. In Australia, materialism gained prominence through the work of John Anderson, who arrived in Australia in 1927, and continues to be influential. John Anderson had been a student of Henry Jones, who might therefore be said to have influenced both main strands of Australian philosophical thought. (shrink)

Just as it’s possible to understand novel sentences without having heard them before, it’s possible to understand novel pictures without having seen them before. But these possibilities are often supposed to have totally different explanations: whereas the ability to understand novel sentences is supposed to be explained by tacit knowledge of a compositional theory of meaning for their language, the ability to understand novel pictures is supposed to be explained differently. In this paper I argue against this disanalogy: insofar as (...) the ability to understand novel sentences is explained by tacit knowledge of a compositional theory, I argue, so is the ability to understand novel pictures. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

This paper advances the following criticisms against the received view of implicatures: (1) implicatures are relations of pragmatic implication and not attempts to convey particular speaker meanings; (2) conversational implicatures are non-cancellable; (3) generalised conversational implicatures and conventional implicatures are necessary to preserve the cooperative assumption employing a conversational maxim of conveyability; (4) implicatures should be divided into utterance implicatures and assumption implicatures, not speaker implicatures and sentence implicatures; (5) trivial implicatures are genuine implicatures; (6) Grice’s theory of conversation cannot (...) explain most of his examples of particularised conversational implicatures; (7) the apparent attempts of explicit cancellation of implicatures are apologies, not attempts to avoid misunderstandings. (shrink)