This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.

Danto's Gallery of Indiscernibles thought experiment only works if we make assumptions about the cognitive impenetrability of perception, which we have strong empirical reasons to reject.

I can imagine a banana to be a phone receiver. I can also imagine the flapping of my arms to be flying. So it is possible to imagine one thing to be another—at least for some types of ‘things’. I will argue that although it is possible to imagine an object to be another object and it is also possible to imagine an activity to be a different activity, one cannot imagine one’s present sensory experience to be a different sensory (...) experience with different qualitative character. This claim will have some important consequences beyond the philosophy of imagination, for example, for some accounts of depiction. (shrink)

Pictorial representation is a subject of interest to both cognitive science and aesthetics. Standard theories of depiction often draw on vision science, and vision science must give an account of picture perception. I offer a critical overview of standard theories of depiction and argue that none of them is adequate. I then describe ways in which new theories of perception blend elements of representationalism with an emphasis on attention and motor control. Such theories, in effect, limit the reliance on mental (...) representation in perceptual tasks. This work provides the basis for a theory of depiction in which pictorial representation is explained in terms of both mental representations and perceptual strategies. I argue that, in the case, the mental representations are most plausibly individuated by the functional and conceptual roles, rather than by causal links to the external world. (shrink)

Arthur C. Danto ha insegnato che l’identità e il contenuto di un’opera d’arte dipendono da «l’atmosfera di una teoria che l’occhio non può percepire». Per “teoria” egli non intende le idee elaborate dai filosofi dell’arte. La sua tesi consiste nell’affermazione che un’opera d’arte può essere riconosciuta e apprezzata adeguatamente solo quando venga vista in relazione con la tradizione delle opere, gli scritti, le pratiche, i generi e le convenzioni che formano lo sfondo dal quale emerge come...