Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions of (...) movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that motion is (...) really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (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)

I explore two logical possibilities for the discretization of time, termed ``instantaneous" and ``smeared". These are found by discretizing a continuous theory, and the resulting structure of configuration space and velocities are described. It is shown that results known in numerical methods for integration of dynamical systems preclude the existence of a system with fixed discrete time step which conserves fundamental charges universally, and a method of avoidance of this ``no-go" theorem is constructed. Finally the implications of discrete time upon (...) quantum cosmology are discussed. NB : At this point this paper is a draft, citations and formatting are not completed. (shrink)

It is widely accepted that continuity is the most essential characteristic of motion; the motion of macroscopic objects is apparently continuous, and classical mechanics, which describes such motion, is also based on the assumption of continuous motion. But is motion really continuous in reality? In this paper, I will try to answer this question through a new analysis of the cause of motion. It has been argued that the standard velocity in classical mechanics cannot fulfill the causal role required for (...) explaining continuous motion in a deterministic way. However, there is a hot debate over the solution to this causal explanation problem. The existing solutions, i.e. the "at-at" theory, the impetus view and the "no instants" view, have serious drawbacks. After reviewing their drawbacks and presenting my own objections, I propose a new solution to this causal explanation problem. It is argued that the relativity of motion or the equivalence between motion and rest demands that motion has no deterministic cause, and thus no causal explanation is needed for motion. Based on this result, I further argue that the uncaused motion is not deterministic and continuous but essentially random and discontinuous. Moreover, objects have a potential that determines the probabilities of their future positions. This suggests a possible connection with quantum mechanics. Lastly, I give a brief explanation for the apparent inconsistency between the suggested potential theory of motion and the appearance of continuous motion in the macroscopic world. (shrink)

These preprints were automatically compiled into a PDF from the collection of preprints deposited on PhilSci-Archive in conjunction with the Workshop on Cosmology and Time at at Penn State.