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Seeing-In as Aspect Perception

In Gary Kemp & Gabriele M. Mras (eds.), Wollheim, Wittgenstein, and Pictorial Representation: Seeing-as and Seeing-In. New York: Routledge (2016)

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  1. (3 other versions)Philosophical Investigations.Ludwig Wittgenstein - 1953 - New York, NY, USA: Wiley-Blackwell. Edited by G. E. M. Anscombe.
    Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.
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  • (4 other versions)Philosophical investigations.Ludwig Wittgenstein & G. E. M. Anscombe - 1953 - Revue Philosophique de la France Et de l'Etranger 161:124-124.
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  • Values and Secondary Qualities.John McDowell - 1985 - In Ted Honderich (ed.), Morality and Objectivity : A Tribute to J. L. Mackie. Boston: Routledge. pp. 110-129.
    J.L. Mackie insists that ordinary evaluative thought presents itself as a matter of sensitivity to aspects of the world. And this phenomenological thesis seems correct. When one or another variety of philosophical non-cognitivism claims to capture the truth about what the experience of value is like, or (in a familiar surrogate for phenomenology) about what we mean by our evaluative language, the claim is never based on careful attention to the lived character of evaluative thought or discourse. The idea is, (...)
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  • Mimesis as Make-Believe.Kendall Walton - 1996 - Synthese 109 (3):413-434.
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  • (1 other version)Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Philosophy 66 (258):527-529.
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  • Cognitive Penetrability of Perception.Dustin Stokes - 2013 - Philosophy Compass 8 (7):646-663.
    Perception is typically distinguished from cognition. For example, seeing is importantly different from believing. And while what one sees clearly influences what one thinks, it is debatable whether what one believes and otherwise thinks can influence, in some direct and non-trivial way, what one sees. The latter possible relation is the cognitive penetration of perception. Cognitive penetration, if it occurs, has implications for philosophy of science, epistemology, philosophy of mind, and cognitive science. This paper offers an analysis of the phenomenon, (...)
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  • (4 other versions)Philosophical Investigations.Ludwig Wittgenstein & G. E. M. Anscombe - 1953 - British Journal for the Philosophy of Science 4 (15):258-260.
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  • Consciousness and the World.Brian O'Shaughnessy (ed.) - 2000 - Oxford, GB: Oxford University Press UK.
    Brian O'Shaughnessy puts forward a bold and original theory of consciousness, one of the most fascinating but puzzling aspects of human existence. He analyses consciousness into purely psychological constituents, according pre-eminence to its epistemological power; the result is an integrated picture of the conscious mind in its natural physical setting. Consciousness and the World is a rich and exciting book, a major contribution to our understanding of the mind.
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  • Mindsight: Image, Dream, Meaning.Colin McGinn - 2004 - Cambridge, Mass.: Harvard University Press.
    The guiding thread of this book is the distinction Colin McGinn draws between perception and imagination.
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  • Picture, Image and Experience: A Philosophical Inquiry.Robert Hopkins - 1998 - New York: Cambridge University Press.
    How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...)
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  • Sight and Sensibility: Evaluating Pictures.Dominic Lopes - 2005 - Oxford, GB: Oxford University Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...)
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  • (2 other versions)Values and Secondary Qualities.John McDowell - 1998 - In James Rachels (ed.), Ethical theory. New York: Oxford University Press.
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  • (1 other version)Consciousness and the World.Brian O’Shaughnessy - 2002 - Philosophy 77 (300):283-287.
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  • Art and Illusion: A Study in the Psychology of Pictorial Representation.Ernst Hans Gombrich - 1960 - Phaidon.
    The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.
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  • The Unity of Imagining.Fabian Dorsch - 2012 - De Gruyter.
    Please send me an email (fabian.dorsch@unifr.ch) if you wish to receive a copy of the book. — 'In this highly ambitious, wide ranging, immensely impressive and ground-breaking work Fabian Dorsch surveys just about every account of the imagination that has ever been proposed. He identifies five central types of imagining that any unifying theory must accommodate and sets himself the task of determining whether any theory of what imagining consists in covers these five paradigms. Focussing on what he takes to (...)
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  • Depiction.Christopher Peacocke - 1987 - Philosophical Review 96 (3):383-410.
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  • On Images: Their Structure and Content.John V. Kulvicki - 2006 - Oxford, GB: Oxford University Press UK.
    What makes pictures different from all of the other ways we have of representing things? Why do pictures seem so immediate? What makes a picture realistic or not? Against prevailing wisdom, Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have thought.
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  • Sounds and Images.M. G. F. Martin - 2012 - British Journal of Aesthetics 52 (4):331-351.
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  • Sight and Sensibility. Evaluating Pictures.[author unknown] - 2006 - Tijdschrift Voor Filosofie 68 (2):434-434.
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  • Pictorial experience and seeing.Michael Newall - 2009 - British Journal of Aesthetics 49 (2):129-141.
    This paper proposes that pictorial experience, the experience that pictures give rise to when we understand them, involves the non-veridical experience of seeing the picture's subject matter. Using phenomenological analysis and material from philosophy of mind and perceptual psychology, it argues that both pictorial experience lacking awareness of the picture surface, such as illusion, and pictorial experience that includes this awareness, i.e. seeing-in, should be understood in this way.
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  • (1 other version)Wittgenstein on seeing aspects.Malcolm Budd - 1987 - Mind 96 (January):1-17.
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  • Towards a syncretistic theory of depiction.Alberto Voltolini - 2012 - In C. Calabi & K. Mulligan (eds.), The Crooked Oar, The Moon’s Size and The Necker Cube. Essays on the Illusions of Outer and Inner Perception.
    In this paper I argue for a syncretistic theory of depiction, which combines the merits of the main paradigms which have hitherto faced themselves on this issue, namely the perceptualist and semioticist approaches. The syncretistic theory indeed takes from the former its stress on experiential factors and from the latter its stress on conventional factors. But the theory is even more syncretistic than this, for the way it accounts for the experiential factor vindicates several claims defended by different perceptualist theories. (...)
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  • Subjectivism in the Theory of Pictorial Art.John Hymen - 2003 - The Monist 86 (4):676-701.
    1. A new wave of subjectivism in the theory of pictorial art began around forty years ago; and since then it has gathered pace in tandem with changing fashions in the philosophy of mind. The initial impetus was provided by the publication of Ernst Gombrich’s 1956 Mellon Lectures, Art and Illusion.1 In this book, and in many subsequent articles and lectures which elaborate its theme, Gombrich argues that the development of Western art – essentially the art of ancient Greece and (...)
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  • Picture, image and experience. [REVIEW]Sonia Sedivy - 2001 - Philosophical Review 110 (3):472-475.
    Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...)
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