Switch to: References

Add citations

You must login to add citations.
  1. Transparency and Egocentrism.Nils-Hennes Stear - 2021 - In Sonia Sedivy (ed.), Art, Representation, and Make-Believe: Essays on the Philosophy of Kendall L. Walton. New York: Routledge. pp. 196-213.
    Kendall Walton argues that photographs are transparent; we literally see the things depicted in them, not just the depictions. This intriguing claim has endured numerous criticisms from those I call the ‘egocentrists’, according to whom seeing—literal seeing—requires the conveyance of egocentric information; to count as seeing something, a visual experience of that thing must impart some information, however spare, about its position relative to the viewer. Since photographs fail to convey such information, the egocentrists claim, Walton’s transparency thesis fails. This (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Reality, Fiction, and Make-Believe in Kendall Walton.Emanuele Arielli - 2021 - In Krešimir Purgar (ed.), The Palgrave Handbook of Image Studies. Palgrave-Macmillan. pp. 363-377.
    Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Arts, Agents, Artifacts: Photography's Automatisms.Patrick Maynard - 2012 - Critical Inquiry 38 (4):727-745.
    Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers the (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • André Bazin's ontology of photographic and film imagery.Jonathan Friday - 2005 - Journal of Aesthetics and Art Criticism 63 (4):339–350.
    Download  
     
    Export citation  
     
    Bookmark  
  • Photography as unconcealment: revisiting the idea of photographic transparency.Koray Değirmenci - 2015 - South African Journal of Philosophy 34 (2):255-264.
    Download  
     
    Export citation  
     
    Bookmark  
  • Aesthetic opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
    Download  
     
    Export citation  
     
    Bookmark