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  1. (1 other version)Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis (4):1-22.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  • Wat is een afbeelding?Hans Maes - 2011 - Esthetica: Tijdschrift Voor Kunst En Filosofie 3.
    This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.
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  • Substitution by Image: The Very Idea.Jakub Stejskal - 2019 - Journal of Aesthetics and Art Criticism 77 (1):55-66.
    The aim of this article is to provide a plausible conceptual model of a specific use of images described as substitution in recent art-historical literature. I bring to light the largely implicit shared commitments of the art historians’ discussion of substitution, each working as they do in a different idiom, and I draw consequences from these commitments for the concept of substitution by image—the major being the distinction between nonportraying substitution and substitution by portrayal. I then develop an argument that (...)
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  • Consciousness: a unique way of processing information.Giorgio Marchetti - 2018 - Cognitive Processing 1 (1612-4782).
    In this article, I argue that consciousness is a unique way of processing information, in that: it produces information, rather than purely transmitting it; the information it produces is meaningful for us; the meaning it has is always individuated. This uniqueness allows us to process information on the basis of our personal needs and ever-changing interactions with the environment, and consequently to act autonomously. Three main basic cognitive processes contribute to realize this unique way of information processing: the self, attention (...)
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  • The ‘Good Form’ of Film: The Aesthetics of Continuity from Gestalt Psychology to Cognitive Film Theory.Maria Poulaki - 2018 - Gestalt Theory 40 (1):29-43.
    Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt genealogy that links (...)
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  • Attempting art: an essay on intention-dependence.Michel-Antoine Xhignesse - 2017 - Dissertation, Mcgill University
    Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...)
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  • The Metaphysics of Scarcity.Ray Scott Percival - 1996 - The Critical Rationalist 1 (2):1 - 31.
    Natural resources are infinite. This is possible because humans can create theories whose potential goes beyond the limited imaginative capacity of the inventor. For instance, no number of people can work out all the economic potential of quantum theory. Economic Resources are created by an interaction of Karl Popper's Worlds 1, 2 and 3, the worlds of physics, psychology and the abstract products of the human mind, such as scientific theories. Knowledge such as scientific theories has unfathomable information content, is (...)
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  • Can we see natural kind properties?René Jagnow - 2015 - Epistemology and Philosophy of Science 44 (2):183-205.
    Which properties can we visually experience? Some authors hold that we can experience only low-level properties such as color, illumination, shape, spatial location, and motion. Others believe that we can also experience high-level properties, such as being a dog or being a pine tree. On the basis of her method of phenomenal contrast, Susanna Siegel has recently defended the latter view. One of her central claims is that we can best account for certain phenomenal contrasts if we assume that we (...)
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  • Synesthesia and Artistic Experimentation.Crétien van Campen - 1997 - PSYCHE: An Interdisciplinary Journal of Research On Consciousness 3.
    Richard Cytowic has argued that synesthetic experimentation by modern artists was based on deliberate contrivances of sensory fusion and not on involuntary experiences of cross-modal association. He has placed artistic experiments with sensory fusion outside the domain of synesthesia research. Artistic experiments, though historically interesting, are considered irrelevant for the study of synesthesia. Contrary to this view I argue that at least Scriabin's and Kandinsky's artistic experiments were based on involuntary experiences of synesthesia. They were investigating perceptual and emotional mechanisms (...)
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  • Why presume analyses are on-line?Georges Rey - 1993 - Behavioral and Brain Sciences 16 (1):74-75.
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  • Limitations on first-person experience: Implications of the “extent”.Bradford H. Pillow - 1993 - Behavioral and Brain Sciences 16 (1):69-69.
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  • Heuristics and counterfactual self-knowledge.Adam Morton - 1993 - Behavioral and Brain Sciences 16 (1):63-64.
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  • Knowledge of the psychological states of self and others is not only theory-laden but also data-driven.Chris Moore & John Barresi - 1993 - Behavioral and Brain Sciences 16 (1):61-62.
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  • Mismatching categories?William Edward Morris & Robert C. Richardson - 1993 - Behavioral and Brain Sciences 16 (1):62-63.
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  • The fallibility of first-person knowledge of intentionality.Peter Ludlow & Norah Martin - 1993 - Behavioral and Brain Sciences 16 (1):60-60.
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  • Knowing levels and the child's understanding of mind.Robert L. Campbell & Mark H. Bickhard - 1993 - Behavioral and Brain Sciences 16 (1):33-34.
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  • How we know our minds: The illusion of first-person knowledge of intentionality.Alison Gopnik - 1993 - Behavioral and Brain Sciences 16 (1):1-14.
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  • The psychologist's fallacy.Philip David Zelazo & Douglas Frye - 1993 - Behavioral and Brain Sciences 16 (1):89-90.
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  • Objective Similarity and Mental Representation.Alistair M. C. Isaac - 2013 - Australasian Journal of Philosophy 91 (4):683-704.
    The claim that similarity plays a role in representation has been philosophically discredited. Psychologists, however, routinely analyse the success of mental representations for guiding behaviour in terms of a similarity between representation and the world. I provide a foundation for this practice by developing a philosophically responsible account of the relationship between similarity and representation in natural systems. I analyse similarity in terms of the existence of a suitable homomorphism between two structures. The key insight is that by restricting attention (...)
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  • (2 other versions)The Dialectic of Perspectivism I.James Conant - 2006 - SATS 7 (1):5-50.
    Philosophers ... always demand that we should think of an eye that is completely unthinkable, an eye turned in no particular direction, in which the active and interpreting forces, through which alone seeing becomes seeing something, are supposed to be lacking; they always demand of the eye an absurdity and a nonsense.
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  • Hallucinatory Pictures.Roberto Casati - 2010 - Acta Analytica 25 (3):365-368.
    Hallucinatory pictures are yet to be found picture-like artifacts that induce a hallucination of their content that cannot be intuitively explained by a look at the structure of the pictorial vehicle. Different accounts of depiction make different predictions about the possibility that such artifacts be considered as pictures. Some cases are presented that point towards the intuitive acceptability of hallucinatory pictures.
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  • The living academies of nature: scientific experiment in learning and communicating the new skills of early nineteenth-century landscape painting.Beryl Hartley - 1996 - Studies in History and Philosophy of Science Part A 27 (2):149-180.
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  • Intentionality, mind and folk psychology.Winand H. Dittrich & Stephen E. G. Lea - 1993 - Behavioral and Brain Sciences 16 (1):39-41.
    The comment addresses central issues of a "theory theory" approach as exemplified in Gopnik' and Goldman's BBS-articles. Gopnik, on the one hand, tries to demonstrate that empirical evidence from developmental psychology supports the view of a "theory theory" in which common sense beliefs are constructed to explain ourselves and others. Focusing the informational processing routes possibly involved we would like to argue that his main thesis (e.g. idea of intentionality as a cognitive construct) lacks support at least for two reasons: (...)
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  • Defining pictorial style: Lessons from linguistics and computer graphics. [REVIEW]John Willats & Fredo Durand - 2005 - Axiomathes 15 (3):319-351.
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  • (1 other version)The psychology of folk psychology.Alvin I. Goldman - 1993 - Behavioral and Brain Sciences 16 (1):15-28.
    The central mission of cognitive science is to reveal the real nature of the mind, however familiar or foreign that nature may be to naive preconceptions. The existence of naive conceptions is also important, however. Prescientific thought and language contain concepts of the mental, and these concepts deserve attention from cognitive science. Just as scientific psychology studies folk physics (McCloskey 1983, Hayes 1985), viz., the common understanding (or misunderstanding) of physical phenomena, so it must study folk psychology, the common understanding (...)
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  • Self-ascription without qualia: A case study.David J. Chalmers - 1993 - Behavioral and Brain Sciences 16 (1):35-36.
    In Section 5 of his interesting article, Goldman suggests that the consideration of imaginary cases can be valuable in the analysis of our psychological concepts. In particular, he argues that we can imagine a system that is isomorphic to us under any functional description, but which lacks qualitative mental states, such as pains and color sensations. Whether or not such a being is empirically possible, it certainly seems to be logically possible, or conceptually coherent. Goldman argues from this possibility to (...)
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  • Art made for pictures.John Kulvicki & Bence Nanay - 2018 - Phenomenology and Mind 14:120-134.
    Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the (...)
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  • Semantic Imagination as Condition to our Linguistic Experience.Nazareno Eduardo de Almeida - 2017 - Principia: An International Journal of Epistemology 21 (3):339-378.
    The main purpose of this article is, from a semiotic perspective, arguing for the recognizing of a semantic role of the imagination as a necessary condition to our linguistic experience, regarded as an essential feature of the relations of our thought with the world through signification processes ; processes centered in but not reducible to discourse. The text is divided into three parts. The first part presents the traditional position in philosophy and cognitive sciences that had barred until recent times (...)
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  • Mirrors and Misleading Appearances.Vivian Mizrahi - 2019 - Australasian Journal of Philosophy 97 (2):354-367.
    ABSTRACTAlthough philosophers have often insisted that specular perception is illusory or erroneous in nature, few have stressed the reliability and indispensability of mirrors as optical instrumen...
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  • (1 other version)The Prometheus Challenge Redux.Arnold Cusmariu - 2017 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 4 (2):175-209.
    Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.
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  • The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  • First-Person Investigations of Consciousness.Brentyn Ramm - 2016 - Dissertation, The Australian National University
    This dissertation defends the reliability of first-person methods for studying consciousness, and applies first-person experiments to two philosophical problems: the experience of size and of the self. In chapter 1, I discuss the motivations for taking a first-person approach to consciousness, the background assumptions of the dissertation and some methodological preliminaries. In chapter 2, I address the claim that phenomenal judgements are far less reliable than perceptual judgements (Schwitzgebel, 2011). I argue that the main errors and limitations in making phenomenal (...)
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  • Explaining depiction : recent debates in the philosophy of pictorial representation.Chi Kei Leung - unknown
    This thesis begins with a succinct survey of theories of depiction and then turns to two highly influential contemporary philosophical accounts, namely, the aspect-recognition theory proposed by Dominic McIver Lopes, and Robert Hopkins’s experienced resemblance theory. The latter two theories of pictorial representation are presented in detail before objections to both accounts are presented and assessed. One of the central contentions of the thesis is that the aspect-recognition theory succumbs to a number of serious objections. First of all, this account (...)
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  • Laboratory Space and the Technological Complex: An Investigation of Topical Contextures.Michael Lynch - 1991 - Science in Context 4 (1):51-78.
    The ArgumentThere can be no doubt about the moral and epistemological significance of what Shapin calls the “physical place” of the scientific laboratory. The physical place is defined by the locales, barriers, ports of entry, and lines of sight that bound the laboratory and separate it from other urban and architectural environments. Shapin's discussion of the emergence of the scientific laboratory in seventeenth-century England provides a convincing demonstration that credible knowledge is situated at an intersection between physical locales and social (...)
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  • Knowing children's minds.Michael Siegal - 1993 - Behavioral and Brain Sciences 16 (1):79-80.
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  • Three inferential temptations.Alexander Levine & Georg Schwarz - 1993 - Behavioral and Brain Sciences 16 (1):57-58.
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  • “Good developmental sequence” and the paradoxes of children's skills.Brian D. Josephson - 1993 - Behavioral and Brain Sciences 16 (1):53-54.
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  • Categorization, theories and folk psychology.Nick Chater - 1993 - Behavioral and Brain Sciences 16 (1):37-37.
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  • The concept of intentionality: Invented or innate?Simon Baron-Cohen - 1993 - Behavioral and Brain Sciences 16 (1):29-30.
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  • Causes are perceived and introspected.D. M. Armstrong - 1993 - Behavioral and Brain Sciences 16 (1):29-29.
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  • Extending the psycho-historical framework to understand artistic production.Aaron Kozbelt & Justin Ostrofsky - 2013 - Behavioral and Brain Sciences 36 (2):148-149.
    We discuss how the psycho-historical framework can be profitably applied to artistic production, facilitating a synthesis of perception-based and knowledge-based perspectives on realistic observational drawing. We note that artists' technical knowledge itself constitutes a major component of an artwork's historical context, and that links between artistic practice and psychological theory may yet yield conclusions in line with universalist perspectives.
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  • Beyond Resemblance.Gabriel Greenberg - 2013 - Philosophical Review 122 (2):215-287.
    What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...)
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  • The Realistic Angel: Pictorial Realism as Hypothetical Verity.Christopher Buckman - 2015 - Aesthetic Investigations 1 (1):49-58.
    My main objective in this paper is to formulate a view of pictorial realism I call ‘hypothetical verity’. It owes much to John Kulvicki but diverges from his view in an important respect: rather than thinking that realistic pictures are true to our conceptions of things, I hold that they are true to what things would be like if they existed. In addition, I agree with Dominic Lopes that different realisms reflect different aspects of reality, but restate the case without (...)
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  • Qualities and relations in folk theories of mind.Lance J. Rips - 1993 - Behavioral and Brain Sciences 16 (1):75-76.
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  • On leaving your children wrapped in thought.James Russell - 1993 - Behavioral and Brain Sciences 16 (1):76-77.
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  • Theory-theory theory.Howard Rachlin - 1993 - Behavioral and Brain Sciences 16 (1):72-73.
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  • Unraveling introspection.John Heil - 1993 - Behavioral and Brain Sciences 16 (1):49-50.
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  • Qualitative characteristics, type materialism and the circularity of analytic functionalism.Christopher S. Hill - 1993 - Behavioral and Brain Sciences 16 (1):50-51.
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  • Recall or regeneration of past mental states: Toward an account in terms of cognitive processes.K. Anders Ericsson - 1993 - Behavioral and Brain Sciences 16 (1):41-42.
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  • The anthropology of folk psychology.Steven Daniel - 1993 - Behavioral and Brain Sciences 16 (1):38-39.
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