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)

Analog representation is often cast in terms of an engineering distinction between smooth and discrete systems. The engineering notion cuts across interesting representational categories, however, so it is poorly suited to thinking about kinds of representation. This paper suggests that analog representations support a pattern of interaction, specifically open-ended searches for content across levels of abstraction. They support the pattern by sharing a structure with what they represent. Continuous systems that satisfy the engineering notion are exemplars of this kind because (...) they are uninterpretable unless they are structure-preserving. Analog representations, so understood, include pictures, images, diagrams, and most graphs. This conception of analogicity also fits well with a line of thought about what makes perceptual states distinctive: they satisfy a “parts principle”. (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)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

Brain images are used both as scientific evidence and to illustrate the results of neuroimaging experiments. These images are apt to be viewed as photographs of brain activity, and in so viewing them people are prone to assume that they share the evidential characteristics of photographs. Photographs are epistemically compelling, and have a number of characteristics that underlie what I call their inferential proximity. Here I explore the aptness of the photography analogy, and argue that although neuroimaging does bear important (...) similarities to photography, the details of the generation and analysis of neuroimages significantly complicate the relation of the image to the data. Neuroimages are not inferentially proximate, but their seeming so increases the potential for misinterpretation. This suggests caution in appealing to such images in the public domain. (shrink)

An important issue for visual argumentation is its relationship to propositions, since it has been argued that, in order to be arguments, images should be propositional. The first part of the paper will approach this debate from a theoretical perspective. After quickly surveying the field on the issue, I will address the relationship between images and propositions. Three specific questions will be examined: can propositions accurately account for the way images express arguments?; are verbal propositions necessary to reconstruct arguments that (...) images alone cannot convey, due to their lacking linguistic tools?; are images essentially non-propositional because they don’t have truth-value? The second part of the paper will include a detailed analysis of two posters. From these analyses, I will ultimately conclude that some images can display a visual argument without necessarily being propositional. (shrink)

Suppose we take a picture containing a full image of a duck and slice it right through, leaving some of the duck image on one slice and some of it on the other. How many duck images will we be left with? Received theories of pictorial representation presuppose that a surface cannot come to contain new images just by changing its physical relations with other surfaces, such as physical continuity. But as it turns out, this is in tension with received (...) theories’ approach to incomplete images. I address three views with respect to the circumstances in which incomplete images of X represent X. 1. A liberal, non-restrictive view: ‘Iff they meet relevant requirements posed by received theory of pictorial representation.’ 2. Moderate restrictions of this view and 3. A fully restrictive view. After investigating challenges for the liberal view, I end up supporting it. The main challenges rest on the fact that only the fully restrictive view can plausibly accommodate some principles that seem inherent to our theory of representation. For instance: only this view accommodates received theories’ presupposition that the representational properties of a surface depend on its configurational properties such that new images may appear on a surface only if its configurational properties have changed. Since the liberal view is overall more plausible than the restrictive view, I reject this presupposition and bear the consequences. (shrink)

We can witness the recent surge of interest in the interaction between cognitive science, philosophy of science, and aesthetics on the problem of representation. This naturally leads us to rethinking the achievements of Goodman’s monumental book Languages of Art. For, there is no doubt that no one else contributed more than Goodman to throw a light on the cognitive function of art. Ironically, it could be also Goodman who has been the stumbling block for a unified theory of representation. In (...) this paper, I shall contrast the ways how differently misrepresentation has been treated in cognitive science, aesthetics, and philosophy of science. And I shall show that it is Goodman’s unnecessary separation of resemblance and representation in art that made such a difference. As a conclusion, I will indicate some of the most promising projects toward the unified theory of representation the revolt against Goodman’s rejection of resemblance theories might promise to us. (shrink)

This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art has increasingly turned its attention (...) to the issues that arise from particular art forms. I will also draw on some ideas developed in art history and theory, which have a suitably philosophical, that is, general or foundational, character. There are many philosophical issues that arise equally from painting and other art forms, but for just this reason, they are best addressed in a broader cross-art-form context, and I will mostly avoid dealing with them here. Instead, I will focus on issues that arise solely or with a special force from a consideration of painting. It will be helpful to roughly arrange these in two categories. The first is representation; the second is form. We shall see that these categories are difficult to keep separate with regard to painting and overlap at various points. (shrink)

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 (...) that seeing trompe l’oeil paintings is, just as some philosophers suggested, different from other cases of picture perception. Further, the way our perceptual system functions when seeing trompe l’oeil paintings could be an important piece of the psychological explanation of perceiving pictures. (shrink)

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: (...) the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Maps, notes, descriptions, diagrams, flowcharts, photographs, paintings, and prints, all, in one way or another, manage to be about things or stand for them. This article looks at three ways in which philosophers have explained the way that pictures represent the world. It starts by describing some leading perceptual accounts and then surveys contemporary content and structural alternatives.

This article focuses on the difficulty for a general theory of depiction of providing a notion of pictorial content that accommodates the full diversity of picture types. The article begins by introducing two basic models of pictorial content using paradigmatic positions that maximize the ability of the respective models to deal with pictorial diversity. Kulvicki's On Images is interpreted as a generalized projection-based model which proposes a scene-centred notion of pictorial content. By contrast, Lopes's aspect-recognition theory, in Understanding Pictures, is (...) taken to exemplify a recognition-based model of pictorial content. It is then considered how applicable these two notions of pictorial content are to a spectrum of different picture types, highlighting differences between mechanically produced and “freehand” pictures. It is shown that while the projection-based and recognition-based models are each required for some picture types, neither model can be applied over the whole spectrum of diverse picture types. This, it is argued, has the far-reaching consequence that neither the projection model nor the recognition model, nor any unitary combination of the two, can provide the basis for a theory of depiction applying to all pictures. (shrink)

A classical objection to pictorial communication is that pictures are intrinsically ambiguous and a picture, per se, can communicate an indeterminate number of different contents. The standard interpretation of this objection is that pictures are subordinate to language and that pictorial communication is parasitic on verbal communication. We argue that in many cases verbal communication presents a similar indeterminacy, which is resolved by resorting to pragmatic mechanisms. In this spirit, we propose a pragmatic approach which explains pictorial communication in terms (...) of implicatures in a wide sense. (shrink)

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 (...) movement. However, anamorphic paintings do not violate : they are still perceived as clearly pictorial, that is, nonpresent. What about the relation between trompe l'oeil paintings and? Do trompe l'oeils allow us to perceive spatial shifts? Nobody has ever focused on this aspect of trompe l'oeil perception. I offer the first speculation about this question. I suggest that, if we follow our most recent theories in philosophy and vision science about the mechanisms of picture perception, then, the only plausible answer, in line with phenomenological intuitions, is that, differently from nonillusory, usual picture perception, and similarly to ordinary perception, trompe l'oeil perception does allow us to perceive spatial shifts resulting from movement. I also discuss the philosophical implications of this claim. (shrink)

This paper discusses a counterexample to the thesis that visual experience is cognitively impenetrable. My central claim is that sometimes visual experience is influenced by the perceiver’s beliefs, rendering her experience’s representational content indeterminate. After discussing other examples of cognitive penetrability, I focus on a certain kind of visual experience— that is, an experience that occurs under radically nonstandard conditions—and show that it may have indeterminate content, particularly with respect to low-level properties such as colors and shapes. I then explain (...) how this indeterminacy depends on the perceiver’s beliefs or thoughts. Finally, I attempt to generalize the case and show how other sorts of visual experiences can also be penetrated by beliefs and, hence, be indeterminate. (shrink)

The central thesis (CT) that this paper upholds is that a picture depicts an object by generating in those who view the picture a visual experience of that object. I begin by presenting a brief sketch of intentionalism, the theory of perception in terms of which I propose to account for pictorial experience. I then discuss Richard Wollheim’s twofoldness thesis and explain why it should be rejected. Next, I show that the socalled unique phenomenology of pictorial experience is simply an (...) instance of perceptual indeterminacy. Lastly, I discuss a phenomenon associated with pictures that could be considered a problem for CT, and account for it by invoking the thesis that visual experience is cognitively penetrable. (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.

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.