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  1. Why Digital Pictures Are Not Notational Representations.John Zeimbekis - 2015 - Journal of Aesthetics and Art Criticism 73 (4):449-453.
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  • Digital Pictures, Sampling, and Vagueness: The Ontology of Digital Pictures.John Zeimbekis - 2012 - Journal of Aesthetics and Art Criticism 70 (1):43-53.
    Digital pictures can be type-identical in respect of colours, shapes and sizes (allographic), but they are not tokens of notational systems, because the types under which they are identical have vague limits and do not meet the requirements for notational characters. Digital display devices are designed to instantiate only limited ranges of objective properties (light intensities, sizes and shapes). Those ranges keep differences in objective magnitudes below sensory discrimination thresholds, and thus define objective conditions sufficient, but not necessary, for the (...)
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  • Languages of Art: An Approach to a Theory of Symbols.B. C. O'Neill - 1971 - Philosophical Quarterly 21 (85):361.
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  • Of Mind and Other Matters.Alexander Nehamas - 1984 - Journal of Aesthetics and Art Criticism 43 (2):209-211.
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  • Are Digital Images Allographic?Jason D'cruz & P. D. Magnus - 2014 - Journal of Aesthetics and Art Criticism 72 (4):417-427.
    Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as historical products and as (...)
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  • Philosophy of Digital Art.Katherine Thomson-Jones - 2015 - Stanford Encyclopedia of Philosophy.
    https://plato.stanford.edu/entries/digital-art/.
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