Switch to: References

Add citations

You must login to add citations.
  1. Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis:1-22.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   2 citations  
  • Seeing in Mirrors.Alberto Voltolini - forthcoming - Journal of Aesthetics and Art Criticism.
    Notwithstanding Plato’s venerable opinion, many people nowadays claim either that mirrors are not pictures, or that, if they are such, they are just transparent pictures in Kendall Walton’s sense of a particular kind of picture. In this article, however, I want to argue that mirrors are bona fide pictures. For they are grasped via what, as I assume in the article, makes a picture a picture, that is, a representation with a figurative value, namely, a depiction; namely, a certain seeing-in (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • On the Content of Peripersonal Visual Experience.Gabriele Ferretti - forthcoming - Phenomenology and the Cognitive Sciences:1-27.
    In a recent paper, ‘Peripersonal perception in action’, Frédérique de Vignemont tackles the problem of defining what is peculiar to the visual perception of objects falling within the peripersonal space of the observer, i.e. the space immediately surrounding the body, and which is commonly described as the space in which action takes place. In this paper, I first discuss the proposal offered by de Vignemont about what characterizes peripersonal perception. Then, I suggest an extension of this account that offers a (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Why the Pictorial Needs the Motoric.Gabriele Ferretti - forthcoming - Erkenntnis:1-35.
    Does action play any crucial role in our perception of pictures? The standard literature on picture perception has never explicitly tackled this question. This is for a simple reason. After all, objects in a picture seem to be static objects of perception. Thus, it might sound extremely controversial to say that action is crucial in picture perception. Contrary to this general intuitive stance, this paper defends, for the first time, the apparently very controversial claim, never addressed in the literature, that (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  • Visual attention in pictorial perception.Gabriele Ferretti & Francesco Marchi - forthcoming - Synthese:1-25.
    According to the received view in the philosophical literature on pictorial perception, when perceiving an object in a picture, we perceive both the picture’s surface and the depicted object, but the surface is only unconsciously represented. Furthermore, it is suggested, such unconscious representation does not need attention. This poses a crucial problem, as empirical research on visual attention shows that there can hardly be any visual representation, conscious or unconscious, without attention. Secondly, according to such a received view, when looking (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   2 citations  
  • The Neural Dynamics of Seeing-In.Gabriele Ferretti - 2019 - Erkenntnis 84 (6):1285-1324.
    Philosophers have suggested that, in order to understand the particular visual state we are in during picture perception, we should focus on experimental results from vision neuroscience—in particular, on the most rigorous account of the functioning of the visual system that we have from vision neuroscience, namely, the ‘Two Visual Systems Model’. According to the initial version of this model, our visual system can be dissociated, from an anatomo-functional point of view, into two streams: a ventral stream subserving visual recognition, (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • Depicting Depictions.René Jagnow - 2017 - Pacific Philosophical Quarterly 98 (S1):453-479.
    How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • Visual Feeling of Presence.Gabriele Ferretti - 2018 - Pacific Philosophical Quarterly 99 (S1):112-136.
    Download  
     
    Export citation  
     
    Bookmark   23 citations  
  • Two Visual Systems in Molyneux Subjects.Gabriele Ferretti - 2018 - Phenomenology and the Cognitive Sciences 17 (4):643-679.
    Molyneux’s question famously asks about whether a newly sighted subject might immediately recognize, by sight alone, shapes that were already familiar to her from a tactile point of view. This paper addresses three crucial points concerning this puzzle. First, the presence of two different questions: the classic one concerning visual recognition and another one concerning vision-for-action. Second, the explicit distinction, reported in the literature, between ocular and cortical blindness. Third, the importance of making reference to our best neuroscientific account on (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  • Threefoldness.Bence Nanay - 2018 - Philosophical Studies 175 (1):163-182.
    Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: the picture surface, the three dimensional object the picture surface visually encodes and the three dimensional depicted object. As and can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an (...)
    Download  
     
    Export citation  
     
    Bookmark   12 citations  
  • Pictures, Emotions, and the Dorsal/Ventral Account of Picture Perception.Gabriele Ferretti - 2017 - Review of Philosophy and Psychology 8 (3):595-616.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   12 citations  
  • Pictures, Action Properties and Motor Related Effects.Gabriele Ferretti - 2016 - Synthese 193 (12):3787-3817.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark   19 citations  
  • Why, as Responsible for Figurativity, Seeing-in Can Only Be Inflected Seeing-In.Alberto Voltolini - 2015 - Phenomenology and the Cognitive Sciences 14 (3):651-667.
    In this paper, I want to argue for two main and related points. First, I want to defend Richard Wollheim’s well-known thesis that the twofold mental state of seeing-in is the distinctive pictorial experience that marks figurativity. Figurativity is what makes a representation pictorial, a depiction of its subject. Moreover, I want to show that insofar as it is a mark of figurativity, all seeing-in is inflected. That is to say, every mental state of seeing-in is such that the characterisation (...)
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  • Trompe L’Oeil and the Dorsal/Ventral Account of Picture Perception.Bence Nanay - 2015 - Review of Philosophy and Psychology 6 (1):181-197.
    While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue (...)
    Download  
     
    Export citation  
     
    Bookmark   16 citations  
  • Extending the Notion of Affordance.Silvano Zipoli Caiani - 2014 - Phenomenology and the Cognitive Sciences 13 (2):275-293.
    Post-Gibson attempts to set out a definition of affordance generally agree that this notion can be understood as a property of the environment with salience for an organism’s behavior. According to this view, some scholars advocate the idea that affordances are dispositional properties of physical objects that, given suitable circumstances, necessarily actualize related actions. This paper aims at assessing this statement in light of a theory of affordance perception. After years of discontinuity between strands of empirical and theoretical research, the (...)
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • Why Trompe l'Oeils Deceive Our Visual Experience.Gabriele Ferretti - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):33-42.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 33-42, Winter 2020.
    Download  
     
    Export citation  
     
    Bookmark   4 citations  
  • Why Trompe l'Oeils Deceive Our Visual ExperienceFerretti.Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (1):33-42.
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Do Trompe l'Oeils Look Right When Viewed From the Wrong Place?Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (3):319-330.
    Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: Depicted objects are not perceived as present and We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate : the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate : they lead to appreciate spatial shifts resulting from (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • Are Pictures Peculiar Objects of Perception?Gabriele Ferretti - 2017 - Journal of the American Philosophical Association 3 (3):372-393.
    ABSTRACT:Are face-to-face perception and picture perception different perceptual phenomena? The question is controversial. On the one hand, philosophers have offered several solid arguments showing that, despite some resemblances, they are quite different perceptual phenomena and that pictures are special objects of perception. On the other hand, neuroscientists routinely use pictures in experimental settings as substitutes for normal objects, and this practice is successful in explaining how the human visual system works. But this seems to imply that face-to-face perception and picture (...)
    Download  
     
    Export citation  
     
    Bookmark   14 citations  
  • Feeling, Meaning, and Intentionality—a Critique of the Neuroaesthetics of Beauty.Peer F. Bundgaard - 2015 - Phenomenology and the Cognitive Sciences 14 (4):781-801.
    This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls short, because it (...)
    Download  
     
    Export citation  
     
    Bookmark   4 citations