Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

Landscape, both the actual and the representational, "is a work of the mind" (Schama, 1995, p. 7) it encompasses ideas of difference, arcadia, commodification, nationalism and many others. How does one negotiate the physical and the representational when trying to reach beyond the traditions of the sublime? Anchoring my research in the physical landscape of Kings Park, Perth, Australia whilst looking at looking this paper explores the manifestation of ideas about land in both forms. Central to my research approach is (...) W.J.T. Mitchell's theses on landscape number eight, which states: "landscape is an exhausted medium, no longer viable as a mode of artistic expression" (1994, p. 5). Countered immediately by his next, tongue in cheek, sentence: "like life, landscape is boring; we must not say so" (1994, p. 5). I agree, and this written and visual investigation explores the possibility of rupture to the accepted and traditional Western forms for landscape as a means of creating new conceptualisations. The Australian landscape genre's seminal nature in articulating and circulating national character and identity is central to the need to reapproach it as a valid form for interrogation. This paper examines the place for oppositional voices through the medium to the prevailing nationalistic rhetoric and uses the actual landscape of Kings Park as a physical and represented site to investigate the manifestations of such. (shrink)

Computer vision aims to produce an understanding of digital image’s content and the generation or transformation of images through software. Today, a significant amount of computer vision algorithms rely on techniques of machine learning which require large amounts of data assembled in collections, or named data sets. To build these data sets a large population of precarious workers label and classify photographs around the clock at high speed. For computers to learn how to see, a scale articulates macro and micro (...) dimensions: the millions of images culled from the internet with the few milliseconds given to the workers to perform a task for which they are paid a few cents. This paper engages in details with the production of this scale and the labour it relies on: its elaboration. This elaboration does not only require hands and retinas, it also crucially zes mobilises the photographic apparatus. To understand the specific character of the scale created by computer vision scientists, the paper compares it with a previous enterprise of scaling, Malraux’sLe Musée Imaginaire, where photography was used as a device to undo the boundaries of the museum’s collection and open it to an unlimited access to the world’s visual production. Drawing on Douglas Crimp’s argument that the “musée imaginaire”, a hyperbole of the museum, relied simultaneously on the active role of the photographic apparatus for its existence and on its negation, the paper identifies a similar problem in computer vision’s understanding of photography. The double dismissal of the role played by the workers and the agency of the photographic apparatus in the elaboration of computer vision foreground the inherent fragility of the edifice of machine vision and a necessary rethinking of its scale. (shrink)