Switch to: References

Add citations

You must login to add citations.
  1. A Theory of Sense-Data.Andrew Y. Lee - forthcoming - Analytic Philosophy.
    I develop and defend a sense-datum theory of perception. My theory follows the spirit of classic sense-datum theories: I argue that what it is to have a perceptual experience is to be acquainted with some sense-data, where sense-data are private particulars that have all the properties they appear to have, that are common to both perception and hallucination, that constitute the phenomenal characters of perceptual experiences, and that are analogous to pictures inside one’s head. But my theory also diverges from (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
    Download  
     
    Export citation  
     
    Bookmark   29 citations  
  • Gombrich and the Duck-Rabbit.Robert Eamon Briscoe - 2015 - In Michael Beaney, Brendan Harrington & Dominic Shaw (eds.), Aspect Perception After Wittgenstein: Seeing-as and Novelty. New York: Routledge. pp. 49-88.
    Download  
     
    Export citation  
     
    Bookmark   18 citations  
  • Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis 86 (4):853-874.
    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  
     
    Export citation  
     
    Bookmark   5 citations  
  • (3 other versions)Depiction.John Hyman & Katerina Bantinaki - 2017 - Stanford Encyclopedia of Philosophy.
    Download  
     
    Export citation  
     
    Bookmark   11 citations  
  • Seeing Through Photographs: Photography as a Transparent Visual Medium.Vivian Mizrahi - 2021 - Journal of Aesthetics and Art Criticism 79 (1):52-63.
    The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  • E Pur Si Move! Motion-based lllusions, Perception and Depiction.Luca Marchetti - 2024 - Australasian Journal of Philosophy.
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  • Nonsense and Visual Evanescence.Clare Mac Cumhaill - 2018 - In Thomas Crowther & Clare Mac Cumhaill (eds.), Perceptual Ephemera. New York, NY: Oxford University Press. pp. 289-311.
    I introduce a perceptual phenomenon so far overlooked in the philosophical literature: ‘visual evanescence’. ‘Evanescent’ objects are those that due to their structured visible appearances have a tendency to vanish or evanesce from sight at certain places and for certain ‘biologically apt’ perceivers. Paradigmatically evanescent objects are those associated with certain forms of animal camouflage. I show that reflection on visual evanescence helps create conceptual room for a treatment of looks statements not explicit in the contemporary literature, one which takes (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • I See Not Only a Madonna, but Also a Hole, in the Picture.Alberto Voltolini - 2019 - Pacific Philosophical Quarterly 101 (2):224-239.
    According to an intuitive claim, in saying that one sees a picture's subject, i.e., what a picture presents, in the picture's vehicle, i.e., the picture's physical basis, by ‘in’ one does not mean the spatial relation of being in, as holding between such items in the real space. For the picture's subject is knowingly not in the real space where one veridically sees the picture's vehicle. Some theories of pictorial experience have actually agreed with this intuition by claiming that the (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  • 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