This paper develops Kendall Walton's account of pictorial experience. Walton argues that the key feature of that experience is that it is imaginatively-penetrated experience. I argue that this idea, as put forward by Walton, has various shortcomings. After discussing these limitations, I suggest, on the basis of a more general phenomenon of cognitive penetration, a refinement of Walton's account. I then show how the revised account explains various features of pictorial experience. Specifically, I show that, given the manner in which (...) imaginings influence perceptual experience, Walton can dispense with the thesis that pictorial experience is twofold. (shrink)

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.

It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.

By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.

According to the cognitivist strategy, the desire to bring about P provides reasons for intending to bring about P in a way analogous to how perceiving that P provides reasons for believing that P. However, while perceiving P provides reasons for believing P by representing P as true, desiring to bring about P provides reasons for intending to bring about P by representing P as good. This paper offers an argument against this view. My argument proceeds via an appeal to (...) what I call the non-substitutability of perception, the thesis that, given that there is no independent evidence for P, one cannot substitute something that fails to provide reasons with respect to P for the perceptual experience that P, without altering the rational permissibility of believing that P. By contrast, I argue that it is always possible to substitute something that fails to provide reasons for a desire without altering the rational permissibility of an intention based on said desire. I take this to show that a desire does not provide reasons in a way analogous to perceptual experience. (shrink)

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (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)

I argue that we can see in a great many cases that run counter to common sense. We can literally see through mirrors, in just the same way that we see through our eyes. We can, likewise, literally see through photographs, shadows, and paintings. Rather than starting with an analysis of seeing, I present a series of evolving thought experiments, arguing that in each case there is no relevant difference between it and the previous case regarding whether we see. In (...) a sense, my arguments can be thought of as akin to the Extended Mind Hypothesis. But instead of arguing that our minds can extend into the world, I argue that our sensory organs can extend into the world. Among the things that emerge from this discussion are that—contrary to Currie and Carroll —seeing an object O doesn’t require being able to locate O with respect to yourself, that—contrary to Sorensen —we can see objects by seeing their shadows, and that—contrary to Walton —it doesn’t matter whether the causal relation between O and yourself is mediated by beliefs. (shrink)

This article focuses on a potentially perplexing aspect of our interactions with pictorial representations : in some cases, it seems that visual representations can play tricks on our cognitive faculties. We may either come to believe that objects represented in pictures are real or perhaps perceive them as such. The possibility of widespread pictorial illusions has been oft discussed, and discarded, in the aesthetics literature. I support this stance. However, the nature of the illusion is more complicated than is usually (...) considered. I argue that there are five different types of potential illusions and present reasons for rejecting each. I also explore in detail the most persistent illusion: the “object recognition perceptual illusion thesis,” which states that we undergo a perceptual illusion while viewing pictorial representations simply in virtue of seeing objects in the representation. I contend that a rejection of this thesis depends on the nature of perceptual content, an issue with far-reaching consequences in aesthetics. (shrink)

O ponto de partida deste artigo é a observação intrigante de que Goodman defendeu um ponto de vista fenomenalista em suas obras epistemológicas, e fenomenalista em suas obras sobre estética. Na verdade, seria certamente mais preciso dizer que seu foco era antifisicalista em epistemologia e antifenomenalista na estética. De qualquer maneira, a maioria dos interpretadores teria, espontaneamente, esperado a escolha oposta, de fato mais consistente com as posições tomadas pelos representantes dessas áreas. Contudo, a estratégia de Goodman não é arbitrária, (...) tendo raízes profundas no contexto geral da filosofia no século XX e, em compensação, contribui para esclareces algumas de suas características e motivação. doi: http://dx.doi.org/ 10.5007 / 1808-1711.2011v15n3p439. (shrink)

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 (...) can visually experience natural kind properties. In this paper, I argue that certain kinds of low-level properties, namely shape-gestalt properties, can explain these phenomenal contrasts just as well as high-level properties. If successful, this is a modest, but nevertheless significant result. Even though it does not prove the falsity of Siegel’s proposal, it nevertheless secures the existence of a plausible alternative. (shrink)

Many scientific models are representations. Building on Goodman and Elgin’s notion of representation-as we analyse what this claim involves by providing a general definition of what makes something a scientific model, and formulating a novel account of how they represent. We call the result the DEKI account of representation, which offers a complex kind of representation involving an interplay of, denotation, exemplification, keying up of properties, and imputation. Throughout we focus on material models, and we illustrate our claims with the (...) Phillips-Newlyn machine. In the conclusion we suggest that, mutatis mutandis, the DEKI account can be carried over to other kinds of models, notably fictional and mathematical models. (shrink)

Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer an account of picture (...) perception that is able to regain and explain this neglected emotional charge. My claim is that, as for face-to-face perception, during picture perception, we are not only in a visual perceptual state, but also in an emotional state, which is directly connected to our visual perceptual state. I also show that it is possible to offer this integration while remaining in the philosophical/empirical framework of the dorsal/ventral account of picture perception, whose explanatory power is confirmed and improved. (shrink)

The most important question concerning picture perception is: what perceptual state are we in when we see an object in a picture? In order to answer this question, philosophers have used the results of the two visual systems model, according to which our visual system can be divided into two streams, a ventral stream for object recognition, allowing one to perceive from an allocentric frame of reference, and a dorsal stream for visually guided motor interaction, thus allowing one to perceive (...) from an egocentric frame of reference. Following this model, philosophers denied that we can be in a dorsal perceptual state when perceiving a depicted object. This is because a depicted object is not physically graspable or manipulable and, in turn, it cannot be egocentrically localized, as a normal object, by the dorsal stream. Thus, the impossibility of manipulating depicted objects and of localizing them from an egocentric frame of reference has led some people to be sceptical about the possibility of a representation of action properties in the perception of objects in pictures, which pertains to the dorsal visual system. The aim of the present paper is to show that it is possible for the depicted object to be represented by dorsal perception. That means that we can ascribe action properties to depicted objects as well, even if depicted objects cannot be egocentrically localized—at least, not as much as normal objects can. (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness motivates a view (...) of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

This book has three principle aims: to show that neither vision nor mental imagery involves the creation or inspection of picture-like mental representations; to defend the claim that our visual processes are, in significant part, cognitively impenetrable; and to develop a theory of “visual indexes”. In what follows, I assess Pylyshyn’s success in realising each of these aims in turn. I focus primarily on his arguments against “picture theories” of vision and mental imagery, to which approximately half the book is (...) devoted. I argue that Pylyshyn adopts an unnecessarily restricted interpretation of what it would be for mental representations to be picture-like, and that this leads him prematurely to reject the possibility of explaining the introspective evidence concerning the nature of mental imagery. (shrink)

This paper investigates a the cognitive foundations of a pragmatic account of line drawings. It sets to highlight those features of line drawings that make them, as opposed to other types of visual representations, particularly conducive to communication. It is argued that representational and artifactual properties of drawings must be investigated together in order to understand the peculiarities of drawings as communicative tools.

Scientific models are important, if not the sole, units of science. This thesis addresses the following question: in virtue of what do scientific models represent their target systems? In Part i I motivate the question, and lay out some important desiderata that any successful answer must meet. This provides a novel conceptual framework in which to think about the question of scientific representation. I then argue against Callender and Cohen’s attempt to diffuse the question. In Part ii I investigate the (...) ideas that scientific models are ‘similar’, or structurally morphic, to their target systems. I argue that these approaches are misguided, and that at best these relationships concern the accuracy of a pre-existing representational relationship. I also pay particular attention to the sense in which target systems can be appropriately taken to exhibit a ‘structure’, and van Fraassen’s recent argument concerning the pragmatic equivalence between representing phenomena and data. My next target is the idea that models should not be seen as objects in their own right, but rather what look like descriptions of them are actually direct descriptions of target systems, albeit not ones that should be understood literally. I argue that these approaches fail to do justice to the practice of scientific modelling. Finally I turn to the idea that how models represent is grounded, in some sense, in their inferential capacity. I compare this approach to anti-representationalism in the philosophy of language and argue that analogous issues arise in the context of scientific representation. Part iii contains my positive proposal. I provide an account of scientific representation based on Goodman and Elgin’s notion of representation-as. The result is a highly conventional account which is the appropriate level of generality to capture all of its instances, whilst remaining informative about the notion. I illustrate it with reference to the Phillips-Newlyn machine, models of proteins, and the Lotka-Volterra model of predator-prey systems. These examples demonstrate how the account must be understood, and how it sheds light on our understanding of how models are used. I finally demonstrate how the account meets the desiderata laid out at the beginning of the thesis, and outline its implications for further questions from the philosophy of science; not limited to issues surrounding the applicability of mathematics, idealisation, and what it takes for a model to be ‘true’. (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)

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 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 (...) rests upon a philosophically problematic notion of semantic information and consequently fails to account adequately for the possibility of misrepresentation. Arguably the theory entails that all pictures are misrepresentational. It is also argued that Lopes’s claim that all pictures are belief-independent is unsound. Criticisms of Hopkins’s account of depiction developed in the thesis focus on problems raised by photographic depiction as well as ways in which the ambiguity of the notion of ‘experienced resemblance’ blurs the distinction between misrepresentation and indeterminacy of outline shape. It is also contended that a notion that is fundamental to Hopkins’s account--experienced resemblance in outline shape—leads to problems that are at least as serious as those it would appear to solve. The thesis concludes with a brief assessment of the state of the art of philosophical accounts of depiction. While progress has been made, especially with regard to the clarification of key questions, we still do not have anything like a comprehensive final theory of depiction. (shrink)