The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied as single entities in relationship (...) with both a referent and the perceptual or interpretive abilities of an observer. On the other hand, thanks in particular to the iconographic tradition inaugurated by Aby Warburg, images have been analyzed in their multiplicity, in their mutual relationship, both synchronically and diachronically. (shrink)

Vivian Maier’s street photography shows us a sudden transfiguration of reality, by which persons, scenes and things become faerical (neologism that also receives one of the senses of the French féerie , a play where supernatural, or, in this case, also infranatural creatures appear). We propose that this transfiguration is an apparition – a faerical epiphany (always earthy and fleshy) that follows two ways, one sunny and luminous, the other obscure and subterranean. We will examine Maier’s body, reflected in her (...) self-portraits in order to propose that her sight (therefore her photography) is a daemonic one, an intermediary between our and other worlds. -/- La fotografía callejera de Vivian Maier nos hace ver una súbita transfiguración de la realidad por la cual las personas, las escenas y las cosas devienen féricas , neologismo que nos permitimos para recoger del inglés el universo de las faeries y traducir a la vez uno de los sentidos del francés féerie , pieza de teatro en la que aparecen seres sobrenaturales (o, en este caso, infranaturales). Esa transfiguración, proponemos, es en rigor una verdadera aparición: una epifanía feérica (siempre carnal) que se despliega en dos direcciones, solar y subterránea. Nos detendremos en el cuerpo de Maier, reflejado en sus autorretratos, para proponer, finalmente, que su mirada es un daimon, intermediaria entre éste y otros mundos. (shrink)

A common view in the philosophy of perception holds that states of seeing objects face to face have particular contents. When you see, say, a dog face to face, your visual state represents the particular dog that is in front of you. In this paper, I argue for a related claim about states of seeing objects in conventional photographs. When you see a dog in a photograph, for example, your visual state represents the particular dog that was in front of (...) the camera when the photograph was taken, that is, the photograph's depictum. The argument in this paper proceeds in two steps. In the first step, I discuss states of seeing objects face to face. I argue that such a state represents the particular object whose surface is responsible for the optical information that the visual system uses to construct the state's attributive representational content. In the second step, I apply the result of this discussion to states of seeing objects in photographs. I argue that a state of seeing an object in a photograph has a particular content that represents the object that was in front of the camera when the photograph was taken. (shrink)

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)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of the (...) unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

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 (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (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.

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)

The theoretical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been somewhat neglected. In this paper, however, I shall discuss narrativity specifically with regard to pictorial objects in order to clarify how pictorial storytelling may be based on the activation of mentally stored action and scene schemas. Approaches from cognitive psychology, such as the work of Schank, Roger C. & Robert P. Abelson. 1977. Scripts, plans, goals (...) and understanding. Hillsdale, NJ: Lawrence Erlbaum; Mandler, Jean Matter. 1984. Stories, scripts, and scenes: Aspects of schema theory. London/hillsdale, NJ: Lawrence Erlbaum; Schank, Roger C. 1995. Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press, suggest that cognition crucially depends on the storage and retrieval of action scripts or schemata, that is, narrative structures, which may occur at various levels of abstraction. These schemas incorporate generalized knowledge about event sequences, such as the order in which specific events will take place; causal, enabling, or conventionalized relations between these events, and what kind of events occur in certain action sequences. There also are scene schemas that are characterized by spatial rather than temporal relations. Further kinds of schemas seem also to play a decisive role. Drawing upon considerations from schema and script theory, I will focus on some concrete examples of pictorial narration, more specifically depictions of the Annunciation of the Virgin Mary, where narrative schema structures become involved and, indeed, the comprehensibility of the pictures as such presuppose mental script representations. (shrink)

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based arousal (...) mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...) the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

What is realism in film? Focusing on a test case of HFR high-definition movies, I discuss in this article various types of realism as well as their interrelations. Precision, recessiveness of the medium, transparency, and 'Collapse' are discussed and compared. At the end of the day, I defend the claim that 'less is more' in the sense that more image precision can actually have a negative impact on storytelling.

In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...) to the problem of depicting impossible fictions. It is suggested that progress can be made by understanding the role of impossible fictions in science, namely, allowing researchers to probe into the possible structure and representational capacities of scientific theory. (shrink)

In this paper, I critically assess the enactive account of visual perception recently defended by Alva Noë (2004). I argue inter alia that the enactive account falsely identifies an object’s apparent shape with its 2D perspectival shape; that it mistakenly assimilates visual shape perception and volumetric object recognition; and that it seriously misrepresents the constitutive role of bodily action in visual awareness. I argue further that noticing an object’s perspectival shape involves a hybrid experience combining both perceptual and imaginative elements—an (...) act of what I call ‘make‐perceive’. (shrink)

Despite its enduring popularity, theatrical magic remains all but ignored by art critics, art historians, and philosophers. This is unfortunate, since magic offers a unique and distinctively intellectual aesthetic experience and raises a host of interesting philosophical questions. Thus, this article initiates a philosophical investigation of the experience of magic. Section I dispels two widespread misconceptions about the nature of magic and discusses the sort of depiction it requires. Section II asks, “What cognitive attitude is involved in the experience of (...) magic?” and criticizes three candidate replies; Section III then argues that Tamar Szabó Gendler's notion of “belief-discordant alief” holds the key to a correct answer. Finally, Section IV develops an account of the experience of magic and explores some of its consequences. The result is a philosophically rich view of the experience of magic that opens new avenues for inquiry and is relevant to core issues in contemporary aesthetics. (shrink)

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, (...) given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. -/- This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. -/- Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects. (shrink)

Doxasticism about our awareness of normative (i.e. justifying) reasons – the view that we can recognise reasons for forming attitudes or performing actions only by means of normative judgements or beliefs – is incompatible with the following triad of claims: -/- (1) Being motivated (i.e. forming attitudes or performing actions for a motive) requires responding to and, hence, recognising a relevant reason. -/- (2) Infants are capable of being motivated. -/- (3) Infants are incapable of normative judgement or belief. -/- (...) It should be clear that (3) is true, given that infants lack the required reflective and conceptual capacities. So doxasticists have to reject either (1) or (2) (or both). But this forced choice may be understood as a dilemma for doxasticism. On the hand, doxasticists may adopt a Kantian approach and reject (2), precisely because they think that motivation presupposes the doxastic recognition of reasons, and because infants lack the capacity to doxastically recognise reasons. But this choice seems to wrongly reduce the responses of infants to mere reflexes or instinctive reactions. On the other hand, doxasticists may choose a Humean route and deny (1) by espousing a purely causal or teleological account of motivation. But this would mean detrimentally ignoring the normative nature of (some instances of) motivation. -/- One elegant way of avoiding this dilemma is to give up doxasticism and instead endorse experientialism – the view that we enjoy some experiential access to reasons, which is independent of, and perhaps more fundamental than, our capacity to form normative judgements and beliefs. In this talk, I would like to provide an argument for the existence of such a non-doxastic form of access to reasons. More specifically, I aim to defend the claim that our basic awareness of reasons is phenomenal in nature. What this means is that it forms part of our access from the inside to those of our mental episodes that provide us with access to reasons. In other words, when we introspectively attend to reason-giving mental episodes and what they are about, we have the impression of the presence of a reason for us. My defence of this experientialist alternative to doxasticism will primarily focus on perceptual reasons for first-order beliefs about the external world. (shrink)

In this article, I defend the view that we can acquire factual knowledge – that is, contingent propositional knowledge about certain (perceivable) aspects of reality – on the basis of imaginative experience. More specifically, I argue that, under suitable circumstances, imaginative experiences can rationally determine the propositional content of knowledge-constituting beliefs – though not their attitude of belief – in roughly the same way as perceptual experiences do in the case of perceptual knowledge. I also highlight some philosophical consequences of (...) this conclusion, especially for the issue of whether imagination can help us to learn something from fictions. (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)

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 (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (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)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

The Perky experiments are taken to demonstrate the phenomenal similarity between perception and visualization. Robert Hopkins argues that this interpretation should be resisted because it ignores an important feature of the experiments, namely, that they involve picture perception, rather than ordinary seeing. My aim is to point out that the force of this argument depends on one’s views on picture perception. On what I take to be the most mainstream account of picture perception, Hopkins’s argument does not work. But even (...) if we accept Hopkins’s own account, we have good reasons to believe that his conclusion does not follow. (shrink)

I argue that when empty space is seen in mirrors—that is, when perceptual specular experience is veridical—specular empty space is, like pictorial empty space, seen-in. I explain how the phenomenal expansiveness of specular reflections can nonetheless be reconciled with the see-through look of specular space.

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)

In the constitution of contemporary image theory, Ludwig Wittgenstein’s philosophy has undoubtedly become a major conceptual reference. Rather than trying to establish what Wittgenstein’s own image theory could possibly look like, this paper would like to critically assess some of the advantages as well as some of the quandaries that arise when using Wittgenstein’s concept of ‘seeing-as’ for addressing the plural realities of images. While putting into evidence the tensions that come into play when applying what was initially a theory (...) of the gaze to a theory of the image, the paper shall subsequently discuss three modes of iconic vision: the propositional seeing-as, the projective seeing-in and the medial seeing-with. (shrink)

My primary aim in this article is to provide a philosophical account of the unity of hallucinations, which can capture both perceptual hallucinations (which are subjectively indistinguishable from perceptions) and non-perceptual hallucinations (all others). Besides, I also mean to clarify further the division of labour and the nature of the collaboration between philosophy and the cognitive sciences. Assuming that the epistemic conception of hallucinations put forward by M. G. F. Martin and others is largely on the right track, I will (...) focus on two main tasks: (a) to provide a satisfactory phenomenology of the subjective character of perceptions and perceptual hallucinations and (b) to redress the philosophers’ neglect of non-perceptual hallucinations. More specifically, I intend to apply one of the central tenets of the epistemic conception—that hallucinations can and should be positively characterised in terms of their phenomenological connections to perceptions—to non-perceptual hallucinations as well. That is, I will try to show that we can positively specify the class of non-perceptual hallucinations by reference to the distinctive ways in which we first-personally experience them and perceptions in consciousness. The task of saying more about their underlying third-personal nature may then be left to the cognitive sciences. (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.

The term “uncanny valley” goes back to an article of the Japanese roboticist Masahiro Mori. He put forward the hypothesis that humanlike objects like certain kinds of robots elicit emotional responses similar to real humans proportionate to their degree of human likeness. Yet, if a certain degree of similarity is reached emotional responses become all of a sudden very repulsive. The corresponding recess in the supposed function is called the uncanny valley. The present paper wants to propose a philosophical explanation (...) why we feel empathy with inanimate objects in the first place, and why the uncanny valley occurs when these objects become very humanlike. The core of this explanation—which is informed by the recently developing empirical research on the matter—will be a form of empathy involving a kind of imaginative perception. However, as will be shown, imaginative perception fails in cases of very humanlike objects. (shrink)

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: the simultaneous (...) visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

This paper analyzes Kendall Walton's theory of depiction and, more specifically, his notion of twofoldness. I argue that (1) Walton’s notion of twofoldness is, in spite of what Walton claims, very different from Richard Wollheim’s and (2) Walton’s notion of twofoldness is inconsistent with the rest of his theory of depiction.

This paper sketches a phenomenological analysis of visual mental imagery and uses it to criticize representationalism and the internalist-versus-externalist framework for understanding consciousness. Contrary to internalist views of mental imagery imagery experience is not the experience of a phenomenal mental picture inspected by the mind’s eye, but rather the mental simulation of perceptual experience. Furthermore, there are experiential differences in perceiving and imagining that are not differences in the properties represented by these experiences. Therefore, externalist representationalism, which maintains that the (...) properties of experience are the external properties represented by experience, is an inadequate account of conscious experience. (shrink)

In this paper, I want to claim that, in conformity with overall intuitions, there are some aesthetic properties that are perceivable. For they are high-level properties that are not only grasped immediately, but also attended to holistically—just like the grouping properties they depend on and that are responsible for the Gestalt effects or switches through which they are grasped. Yet, unlike such grouping properties, they are holistically attended to in a disinterested modality, where objects and their properties are regarded for (...) their own sake. (shrink)

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 (...) experience. This is the sui generis perceptual experience that Richard Wollheim originally appealed to. Once this experience is suitably reconceived, one can show how it successfully applies to mirrors as well, in order to prove that they are bona fide pictures. From an aesthetical point of view, this is an important result. For it shows that the class of pictures is broader than what people nowadays think and is closer to the original intuition sustaining Plato’s opinion. (shrink)

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 (...) perception that is able to regain and explain this neglected emotional charge. My claim is that, as for face-to-face perception, during picture perception, we are not only in a visual perceptual state, but also in an emotional state, which is directly connected to our visual perceptual state. I also show that it is possible to offer this integration while remaining in the philosophical/empirical framework of the dorsal/ventral account of picture perception, whose explanatory power is confirmed and improved. (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)

Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive contribution of inflection to (...) pictorial aesthetics. Two kinds of inflected seeing-in are distinguished in terms of two functions the design properties of a picture can realize. One kind of inflected seeing-in allows us to experience how the picture design sustains what is seen in the picture and is responsible for the representation of the picture subject. The second kind, which is only supported by some pictures, also captures how properties of the vehicle alter or enrich the picture content so as to elicit an experience of the depicted subject as having properties it could not be seen as having in face-to-face experience. This inflected experience is distinctively associated with our visual experience of the aesthetically valuable relations between vehicle and content which are unique to pictorial representation. (shrink)

This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at face (...) value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (shrink)

There are some complex experiences, such as the experiences that allow us to understand linguistic expressions and pictures respectively, which seem to be very similar. For they are stratified experiences in which, on top of grasping certain low-level properties, one also grasps some high-level semantic-like properties. Yet first of all, those similarities notwithstanding, a phenomenologically-based reflection shows that such experiences are different. For a meaning experience has a high-level fold, in which one grasps the relevant expression’s meaning, which is not (...) perceptual, but is only based on a low-level perceptual fold that merely grasps that expression in its acoustically relevant properties. While a pictorial experience, a seeing-in experience, has two folds, the configurational and the recognitional fold, in which one respectively grasps the physical basis of a picture, its vehicle, and what the picture presents, its subject, that are both perceptual, insofar as they are intimately connected. For unlike a meaning experience, in a seeing-in experience one can perceptually read off the picture’s subject from the picture’s vehicle. Moreover, this phenomenological difference is neurologically implemented. For not only the cerebral areas that respectively implement such experiences are different, at least as far as the access to those experiences’ respective high-level content is concerned. As is shown by the fact that one can selectively be impaired in the area respectively implementing the meaning vs. the seeing-in experience without losing one’s pictorial vs. semantic competence respectively. But also, unlike meaning experiences, the area implementing the seeing-in experiential folds is perceptual as a whole. For not only a picture’s subject can be accessed earlier than an expression’s meaning, but also the neural underpinnings of such folds are located in the perceptual areas of the brain. (shrink)

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, (...) and a dorsal stream subserving the visual guidance of action. Following this model, philosophers have suggested that, since the two streams have different functions, they represent different properties of a picture. However, the original view proposed by the ‘Two Visual Systems Model’ about the presence of a strong anatomo-functional dissociation between the two streams has recently been questioned on both philosophical and experimental grounds. Indeed, the analysis of several new pieces of evidence seems to suggest that many visual representations in our visual system, related to different tasks, are the result of a deep functional interaction between the streams. In the light of the renewed status of the ‘Two Visual Systems Model’, also our best philosophical model of picture perception should be renewed, in order to take into account a view of the process of picture perception informed by the new evidence about such interaction. Despite this, no account fulfilling this role has been offered yet. The aim of the present paper is precisely to offer such an account. It does this by suggesting that the peculiar visual state we are in during picture perception is subserved by interstream interaction. This proposal allows us to rely on a rigorous philosophical account of picture perception that is, however, also based on the most recent results from neuroscience. Unless the explanation offered in this paper is endorsed, all the recent evidence from vision neuroscience will remain unexplained under our best empirically informed philosophical theory of picture perception. (shrink)

In the seventh chapter of his extraordinary book The Objective Eye, John Hyman offers various criticisms of Richard Wollheim’s theory of pictorial depiction.1 My immediate purpose in this short piece is to make the case that these criticisms fail. By no means do I claim that there are not other criticisms to be made against Wollheim’s theory or that Hymans’s book as a whole fails—not in its overarching attempt to rescue the objectivity of art from subjectivist views or, more narrowly, (...) that Hyman’s theory of depiction fails. My claim is merely that Wollheim’s theory emerges relatively unscathed by the criticisms in Hyman’s Chapter 7, even if it is vulnerable on other grounds or incompatible with Hyman’s... (shrink)

Castañeda, Perry and Lewis argued that, among singular thoughts in general, thoughts about oneself ‘as oneself’—first-personal thoughts, which Lewis aptly called de se—have a distinctive character that traditional views of contents cannot characterize. Drawing on Anscombe, Annalisa Coliva has argued that a feature she calls Real Guarantee marks apart de se thoughts—as opposed to others including Immunity to Error through Misidentification that have been proposed for that role. I'll argue that, while her work points to a truly distinguishing feature of (...) the de se, we need an account of the notion other than hers and Echeverri's recent development of it. I'll offer an alternative, drawing on Léa Salje's work. Finally, I'll briefly outline how, thus understood, the Real Guarantee feature could be adequately explained by theories of de se thoughts like the one I favour, even if it is an open option to just explain it away. (shrink)