A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration here comes from recent (...) proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

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. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that (...) of the properties of usage associated with signs. In Section 2 we illustrate these ideas with a case study of diagrammatic representation: the evolution from Euler diagrams to Venn diagrams. Section 3 is correspondingly devoted to pictorial representation, illustrated by the comparison between parallel and linear perspective drawing. We conclude with open questions, and then briefly summarize the articles to follow. (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)

It is generally agreed that Edmund Husserl’s theory of depiction describes a three-fold experience of seeing something in pictures, whereas Richard Wollheim’s theory is a two-fold experience of seeingin. The aim of this article is to show that Wollheim’s theory can be interpreted as a three-fold experience of seeing-in. I will first give an overview of Wollheim and Husserl’s theories of seeing-in, and will then show how the concept of figuration in Wollheim’s theory is analogous to the concept of the (...) image subject as the depicted object in Husserl’s theory. I will claim that our experience of non-figurative pictures is a two-fold seeing-in, while that of figurative pictures is a three-fold seeing-in. (shrink)

There is currently a gap in our understanding of how figures produced by mechanical imaging techniques play evidential roles: several studies based on close examination of scientific practice show that imaging techniques do not yield data whose significance can simply be read off the image. If image-making technology is not a simple matter of nature re-presenting itself to us in a legible way, just how do the images produced provide support for scientific claims? In this article I will first show (...) that there is a distinct question about the semiotics of mechanically produced images that has not yet been answered. I show that my account of visual representations can do so, and I argue that the role of convention involved in my account is compatible with the view that visual representations produced through mechanized imaging techniques can play genuine evidential roles in scientific reasoning. (shrink)

It is commonly assumed that images, whether in the world or in the head, do not have a privileged analysis into constituent parts. They are thought to lack the sort of syntactic structure necessary for representing complex contents and entering into sophisticated patterns of inference. I reject this assumption. “Image grammars” are models in computer vision that articulate systematic principles governing the form and content of images. These models are empirically credible and can be construed as literal grammars for images. (...) Images can have rich syntactic structure, though of a markedly different form than sentences in language. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...) the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

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 (...) picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (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)

A widespread opinion holds that norms and codes of conduct as such can only be established via words, that is, in some lexical form. This perspective can be criticized: some norms produced by human acts are not word-based at all. For example, many norms are actually conveyed through graphics (e. g. road signs and land-use maps), sounds (e. g. the referee’s whistle), a silent gesture (the traffic warden’s signal to halt). In this article, we will focus on the norms that (...) are created by means of drawings and can be termed “drawn norms” or “graphical norms.” Specifically, we will inquire into the phenomenon of graphical norms with particular regard to traffic signs and land-use plans, and we will discuss the philosophical and legal problems to which these phenomena give rise. (shrink)

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. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

Sculptors, architects, and painters are three professional groups that require a comprehensive understanding of how to manipulate spatial structures. While it has been speculated that they may differ in the way they conceive of space due to the different professional demands, this has not been empirically tested. To achieve this, we asked architects, painters, sculptors, and a control group questions about spatially complex pictures. Verbalizations elicited were examined using cognitive discourse analysis. We found significant differences between each group. Only painters (...) shifted consistently between 2D and 3D concepts, architects were concerned with paths and spatial physical boundedness, and sculptors produced responses that fell between architects and painters. All three differed from controls, whose verbalizations were generally less elaborate and detailed. Thus, for the case of sculptors, architects, and painters, profession appears to relate to a different spatial conceptualization manifested through a systematically contrasting way of talking about space. (shrink)

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)