Medical imaging is predominantly a visual field. In this context, prenatal ultrasound images assume intense social, ethical, and psychological significance by virtue of the subject they represent: the fetus. This feature, along with the sophistication introduced by three-dimensional ultrasound imaging that allows improved visualization of the fetus, has contributed to the common impression that prenatal ultrasound scans are like photographs of the fetus. In this article we discuss the consistency of such a comparison. First, we investigate the epistemic role of (...) both analogic and digital photographic images as visual information-providing representations holding a high degree of objectivity. Second, we examine the structure and process of production of ultrasound scans and argue that a comparison between two-dimensional ultrasound and photography is justified. This is in contrast to 3D ultrasound images that, due to the intensive mathematical processing involved in their production, present some structural issues that obfuscate their ontological and epistemic status. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite (...) a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

The category within which an artwork is received affects its critical and aesthetic significance (Levinson 2011; Walton 1970).1 Yet, it is not always clear how.

Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. It (...) is a widely shared view that photographs are somehow special and that they fundamentally differ from hand-made pictures like paintings, both from a phenomenological point of view (in the way we experience them), and an epistemic point of view (since they are supposed to have a different – greater – epistemic value than paintings, giving us a privileged access to the world). In what follows, I shall reject almost the totality of these claims, and as a consequence there will remain little difference left between photographs and paintings. As we shall see, 'photographs are always partly paintings' – a claim that is true not only of retouched digital photographs but of all photographs, including traditional ones made using photosensitive film and development techniques. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...) will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)