I discuss a criterion for successful communication between a speaker and a hearer put forward by Buchanan according to which there is communicative success only if the hearer entertains, as a result of interpreting the speaker's utterance, a thought that has the same truth conditions as the thought asserted by the speaker and, furthermore, does so in virtue of recognizing the speaker's communicative intentions. I argue, against Buchanan, that the data on which it is based are compatible with a view (...) involving Fregean modes of presentation. In the second part of the article I critically discuss Unnsteinsson's claim that communicative success depends on the absence of contextually salient false distinctness beliefs about the subject matter of the conversation. I argue that this thesis leads to clearly counterintuitive consequences and that no fundamental role must be given to the presence or absence of false distinctness beliefs in one's account of successful communication. The upshot is that we should stick with Buchanan's criterion. I conclude by employing Strawson and Recanati's concepts of linking and merging to show how the criterion I favour is compatible with the fact that, when subjects hold no relevant false distinctness beliefs, communicative success does not seem to be disrupted by the hearer seemingly failing to recognize the speaker's intentions. (shrink)

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 (...) substitution by image in the desired, nonportraying sense needs to be thought of in terms of a figurative representation of an image’s subject as a generic object, what I will call its figurative instantiation. (shrink)

John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.

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)

Given the inevitability of scarcity, should public institutions ration healthcare resources so as to prioritize those who contribute more to society? Intuitively, we may feel that this would be somehow inegalitarian. I argue that the egalitarian objection to prioritizing treatment on the basis of patients’ usefulness to others is best thought of as semiotic: i.e. as having to do with what this practice would mean, convey, or express about a person's standing. I explore the implications of this conclusion when taken (...) in conjunction with the observation that semiotic objections are generally flimsy, failing to identify anything wrong with a practice as such and having limited capacity to generalize beyond particular contexts. (shrink)

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response,design. A different project is to give a compositional semantics for depictive content. Such attempts identifysyntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's semantics for (...) basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration here comes from recent (...) proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

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)

There has been much philosophical debate about whether the meaning of pictures can be analysed using theoretical frameworks normally employed within philosophy of language. A specific question within this debate is the question of whether pictures can express propositions. Instead of addressing this question in of pictures in a broad sense, this essay focuses on a specific category of pictures referred to as pictorial signs. These signs constitute a pictorial form of communication that we use in our everyday lives. The (...) question of whether pictorial signs can express propositions should, because of this communicative use, be more approachable than the same question applied to pictures in general. While a standard approach to the question has been to investigate the extent to which pictures may share some syntactic or semantic features with natural language, the approach in this essay is instead to look at how pictorial signs are used. The suggested strategy is to approach the question of propositionality by attempting to translate a particular sign into some sentence in natural language on the basis of how the sign is used, rather than analysing its structure. (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 essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference from (...) style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)