I argue that maps do not feature predication, as analyzed by Frege and Tarski. I take as my foil (Casati and Varzi, Parts and places, 1999), which attributes predication to maps. I argue that the details of Casati and Varzi’s own semantics militate against this attribution. Casati and Varzi emphasize what I call the Absence Intuition: if a marker representing some property (such as mountainous terrain) appears on a map, then absence of that marker from a map coordinate signifies absence (...) of the corresponding property from the corresponding location. Predication elicits nothing like the Absence Intuition. “F(a)” does not, in general, signify that objects other than a lack property F. On the basis of this asymmetry, I argue that attaching a marker to map coordinates is a different mode of semantic composition than attaching a predicate to a singular term. (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)

Emotions can be insensitive to certain attributes of a situation: Fear of flying is not always reduced by remembering air crash probabilities. A large body of evidence shows that information on probabilities, large numerical counts, and intentions is frequently disregarded in the elicitation and regulation of emotions. To date, no existing theory comprehensively accounts for the features that tend to be overlooked by emotion. In this paper, I call attention to the common denominator of such features: they do not contribute (...) to the iconic representation of events. For instance, the exceedingly low probability of a plane crash does not affect its imagistic representation (i.e., the iconic representation of the event is silent about the event’s probability). This paper introduces the Iconic Prioritization Hypothesis, positing that the prioritization of input in the iconic format by emotions can explain the neglect of information that is representationally silent in this format. Delving into the causes of this format prioritization, I argue that emotion might favour iconicity as it is the format of immediate information about our surroundings (perception) and of stored first-hand evidence (episodic memory). Lastly, the hypothesis's compatibility with philosophical theories of emotion causation and its implications for experimental research are examined. (shrink)

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...) the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

In seeing a tilted penny, we are experientially aware of both its circularity and another shape, which I dub ‘β‐ellipticality’. Some claim that our experiential awareness of the intrinsic shapes/sizes of everyday objects depends upon our experiential awareness of β‐shapes/β‐sizes. In contrast, I maintain that β‐property experiences are the result of what Richard Wollheim calls ‘seeing‐in’, but run in reverse: instead of seeing a three‐dimensional object in a flat surface, we see a flat surface in a three‐dimensional object. Using this (...) new account, I re‐examine the phenomenological directness of visual experience and undermine an argument for skepticism about β‐property experiences. (shrink)

When we try to understand what a picture represents, how we experience the picture, I argue, plays a key role in determining the content the picture represents. More specifically, I argue that understanding pictorially represented content requires two tasks—visually grasping the picture’s design (an image) and interpreting what the design represents (what it is an image of). Neither task is done without the other, meaning that the viewer’s success in the former—visually identifying the image—depends on their success in the latter—determining (...) what the image is of. Because of this interdependence, I argue, when the viewer succeeds in understanding the picture, they find their interpretation of the picture perceptually convincing. (shrink)

What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way we try to account for (...) caricature and for some basic features of pictorial representations. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

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.

Speaking of mental imagery suggests a similarity between internal mental representations and external pictorial representations, such as drawings, paintings and photographs. This perceived similarity has led some philosophers and cognitive scientists to consider that both types of representations belong to a specific category known as depictive representations. Since the depictive role of external pictures has often been explained in terms of resemblance, the same principle has been applied to mental images. In this article, I start by reviewing some of these (...) attempts. Then, I put forward objections against the core project behind these attempts, particularly emphasizing what I call the ‘homogeneity problem’. Finally, this article proposes an alternative approach to understanding mental imagery by drawing insights from the literature on pictorial representation in artifacts, namely from recognitional accounts of pictorial representation. I argue that one of the merits of this definition is that it does not fall prey to the homogeneity problem and the other objections described previously. (shrink)

It is clear that visual imagery is somehow significantly visual. Some theorists, like Kosslyn, claim that the visual nature of visualisations derives from features of the neural processes which underlie those episodes. Pylyshyn claims, however, that it may merely reflect special features of the contents which we grasp when we visualise things. This paper discusses and rejects Pylyshyn's own attempts to identify the respects in which the contents of visualisations are notably visual. It then offers a novel and very different (...) account of what is distinctively sensory about the contents of sensory images. The paper's alternative account is used in explaining various pieces of phenomenological and behavioural data concerning visualisation. Finally, it is tentatively suggested that the proposed account of the contents of sensory images may also shed light upon some of the neurological data involving visualisation and sensory imagery more generally. (shrink)

Little has been said about whether pictures can depict properties of properties. This article argues that they do. As a result, resemblance theories of depiction must be changed to accommodate this phenomenon. In addition, diagrams and maps are standardly understood to represent properties of properties, so this article brings accounts of depiction closer to accounts of diagrams than they had been before. Finally, the article suggests that recent work on perceptual content gives us reason to believe we can perceive properties (...) of properties. (shrink)

There is a common assumption about pictures, that seeing them produces in us something like the same effects as seeing the things they depict. This assumption lies behind much empirical research into vision, where experiments often expose subjects to pictures of things in order to investigate the processes involved in cognizing those things themselves. Can philosophy provide any justification for this assumption? I examine this issue in the context of Flint Schier's account of pictorial representation. Schier attempts to infer the (...) assumption from what he takes to be the fundamental facts about picturing. I argue that there is no plausible form of Schier's basic claims from which the assumption can be inferred. I then reject a second argument, that by appealing to the assumption Schier could explain why it is impossible to depict a particular without depicting it as having certain properties. I conclude that those sympathetic to the assumption need to articulate and defend some version of it suited to their needs. (shrink)

Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...) che ci sbagliamo e che queste nostre intuizioni non siano affidabili. Questo contributo è un'introduzione alle principali teorie della rappresentazione pittorica, che mirano a comprendere la natura della modalità di rappresentazione che distingue le immagini che rappresentano visivamente aspetti visibili di altri oggetti. Dopo alcune considerazioni preliminari, presento cinque concetti centrali per la comprensione della natura delle rappresentazioni pittoriche: proprietà prospettiche, riconoscimento, esperienza, somiglianza, struttura. Secondo alcuni, la natura della rappresentazione pittorica si può comprendere considerando certe particolari proprietà degli oggetti che chiamiamo "rappresentazioni pittoriche" (come le proprietà prospettiche, di somiglianza, o strutturali), secondo altri la si può comprendere indagando le peculiarità dell'esperienza di visione di una rappresentazione pittorica, o individuando quali abilità cognitive sono mobilitate quando afferriamo il contenuto di una rappresentazione pittorica. Talvolta più strategie esplicative sono adottate nel contesto della stessa teoria. (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)