Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

Using an approach deeply informed by philosophy of art, art history and perceptual psychology, this book places seeing at the centre of an original theory of pictorial representation and explores the ramifications such a theory has for the visual arts.

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing how (...) it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. (shrink)

"Like Dewey, he has revolted against the empiricist dogma and the Kantian dualisms which have compartmentalized philosophical thought.... Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." --Richard Rorty, _The Yale Review_.

This essay argues for a model of pictorial representation which aims to explain the relationship between pictorial content and pictorial accuracy. Focusing on cases where pictures are intended to convey accurate information, the model distinguishes between two fundamental representational relations: on one hand, a picture expresses a content; on the other, it aims at a target scene. Such a picture is accurate when the content it expresses fits the target scene it aims at. In addition, the model follows the traditional (...) division of content into two aspects: singular content specifies the particular individuals which a picture is of, and attributive content specifies the properties and relations which the picture ascribes to those individuals. For a picture to be accurate, both aspects must be matched in the target. I call this the Three-Part Model because it distinguishes between the triad of factors, singular content, attributive content, and target, which together determine pictorial accuracy. Though previous work on depiction has not recognized the distinctive role played by target, I will argue that it is essential in order to make sense of accuracy judgements across a range of central cases. (shrink)

Because humans cannot know one another’s minds directly, every form of communication is a solution to the same basic problem: how can privately held information be made publicly accessible through manipulations of the physical environment? Language is by far the best studied response to this challenge. But there are a diversity of non-linguistic strategies for representation with external signs as well, from facial expressions and fog horns to chronological graphs and architectural renderings. The general thesis of this dissertation is that (...) there is an impressively wide spectrum of conventional systems of representation, corresponding to the many ways that the problem of communication can be solved, and that these systems can be described and explained using the tools of contemporary mathematical semantics. As a partial corrective to the countervailing norm, this work concentrates on the class of systems arguably most different from language— those governing the interpretation of pictorial images. Such representations dominate practical communication: witness the proliferation of maps, road signs, newspaper photographs, scientific illustrations, television shows, engineering drawings, and even the fleeting imagery of manual gesture. I argue that systems of depiction and languages embody a parallel technologies of communication. Both are based on semantics: systematic and conventional mappings from signs to representational content. But I also provide evidence that these semantics are profoundly divergent. Whereas the semantics of languages are based on arbitrary associations of signs and denotations, the semantics of systems of depiction are based on rules of geometrical transformation. Drawing on recent research in computer graphics and computational vision, I go on to develop a precise theory of pictorial semantics. This in turn facilitates a detailed comparison of iconic, image-based representation, and symbolic, language-based representation. A consequence of these conclusions is that the traditional, language-centric conception of semantics must be overhauled to allow for a more general semantic theory, one which countenances the wide variety of interpretive mechanisms actually at work in human communication. (shrink)

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...) defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. -/- It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. -/- The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors. (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)

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Michael Tye untangles the complex web of empirical and conceptual issues of the newly revived imagery debate in psychology between those that liken mental...

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 (...) depend on a distinctive sort of perceptual experience: experienced resemblance in outline shape between a picture and its object. Experienced resemblance in outline shape is the experience of sameness of the solid angle subtended by the contours on the pictorial surface and the solid angle subtended by the actual depicted objects. Pictures don’t resemble their objects but they are experienced as such and it is sameness of outline shape or sameness of subtended solid angles that secures this experience. (shrink)

It seems odd to say that photography is not a mode of representation. For a photograph has in common with a painting the property by which the painting represents the world, the property of sharing, in some sense, the appearance of its subject. Indeed, it is sometimes thought that since a photograph more effectively shares the appearance of its subject than a typical painting, photography is a better mode of representation. Photography might even be thought of as having replaced painting (...) as a mode of visual representation. Painters have felt that if the aim of painting is really to reproduce the appearances of things, then painting must give way to whatever means are available to reproduce an appearance more accurately. It has therefore been said that painting aims to record the appearances of things only so as to capture the experience of observing them and that the accurate copying of appearances will normally be at variance with this aim. Here we have the seeds of expressionism and the origin of the view that painting is somehow purer when it is abstract and closer to its essence as an art. Roger Scruton is the author of Art and Imagination, The Aesthetics of Architecture, The Meaning of Conservatism, From Descartes to Wittgenstein, and The Politics of Culture and Other Essays. (shrink)

Although the study of visual perception has made more progress in the past 40 years than any other area of cognitive science, there remain major disagreements as to how closely vision is tied to general cognition. This paper sets out some of the arguments for both sides and defends the position that an important part of visual perception, which may be called early vision or just vision, is prohibited from accessing relevant expectations, knowledge and utilities - in other words it (...) is cognitively impenetrable. That part of vision is complex and articulated and provides a representation of the 3-D surfaces of objects sufficient to serve as an index into memory, with somewhat different outputs being made available to other systems such as those dealing with motor control. The paper also addresses certain conceptual and methodological issues, including the use of signal detection theory and event-related potentials to assess cognitive penetration of vision. A distinction is made among several stages in visual processing. These include, in addition to the inflexible early-vision stage, a pre-perceptual attention allocation stage and a post-perceptual evaluation, memory-accessing, and inference stage which provide several different highly constrained ways in which cognition can affect the outcome of visual perception. The paper discusses arguments that have been presented in both computer vision and psychology showing that vision is "intelligent" and involves elements of problem solving". It is suggested that these cases do not show cognitive penetration, but rather they show that certain natural constraints on interpretation, concerned primarily with optical and geometrical properties of the world, have been compiled into the visual system. The paper also examines a number of examples where instructions and "hints" are alleged to affect. (shrink)

Philosophers from Hume, Kant, and Wittgenstein to the recent realists and antirealists have sought to answer the question, What are concepts? This book provides a detailed, systematic, and accessible introduction to an original philosophical theory of concepts that Christopher Peacocke has developed in recent years to explain facts about the nature of thought, including its systematic character, its relations to truth and reference, and its normative dimension. Particular concepts are also treated within the general framework: perceptual concepts, logical concepts, and (...) the concept of belief are discussed in detail. The general theory is further applied in answering the question of how the ontology of concepts can be of use in classifying mental states, and in discussing the proper relation between philosophical and psychological theories of concepts. Finally, the theory of concepts is used to motivate a nonverificationist theory of the limits of intelligible thought. Peacocke treats content as broad rather than narrow, and his account is nonreductive and non-Quinean. Yet Peacocke also argues for an interactive relationship between philosophical and psychological theories of concepts, and he plots many connections with work in cognitive psychology. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

What is a bias? Standard philosophical views of both implicit and explicit bias focus this question on the representations one harbours, for example, stereotypes or implicit attitudes, rather than the ways in which those representations are manipulated. I call this approach representationalism. In this paper, I argue that representationalism taken as a general theory of psychological social bias is a mistake, because it conceptualizes bias in ways that do not fully capture the phenomenon. Crucially, this view fails to capture a (...) heretofore neglected possibility of bias, one that influences an individual’s beliefs about or actions toward others, but is, nevertheless, nowhere represented in that individual’s cognitive repertoire. In place of representationalism, I develop a functional account of psychological social bias which characterizes it as a mental entity that takes propositional mental states as inputs and returns propositional mental states as outputs in a way that instantiates social-kind inductions. This functional characterization leaves open which mental states and processes bridge the gap between the inputs and outputs, ultimately highlighting the diversity of candidates that can serve this role. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

§1 Analytic philosophers interested in depiction have focused for the most part on two problems: first, explaining how pictures represent; second, describing the distinctive kinds of artistic value pictures can possess, or the distinctive ways in which they can embody artistic values that extend more broadly across the arts. I shall discuss the first problem here. The main concepts I shall be concerned with are depiction, resemblance, sense and reference.

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

Discussions of representation in science tend to draw on examples from art. However, such examples need to be handled with care given a) the differences between works of art and scientific theories and b) the accommodation of these examples within certain philosophies of art. I shall examine the claim that isomorphism is neither necessary nor sufficient for representation and I shall argue that there exist accounts of representation in both art and science involving isomorphism which accommodate the apparent counterexamples and, (...) moreover, allow us to understand how “impossible” artistic objects and inconsistent scientific theories can be said to represent. (shrink)

Recent discussions of the nature of representation in science have tended to import pre-established decompositions from analyses of representation in the arts, language, cognition and so forth. Which of these analyses one favours will depend on how one conceives of theories in the first place. If one thinks of them in terms of an axiomatised set of logico-linguistic statements, then one might be naturally drawn to accounts of linguistic representation in which notions of denotation, for example, feature prominently. If, on (...) the other hand, one conceives of theories in non-linguistic terms, as in the model-theoretic approach, then one might look to analyses of representation in the arts where notions of resemblance tend to be brought to the fore. Thus van Fraassen, for example, has imported such an analysis into his discussion of representation in science and argued that an appropriate account of resemblance can be given in terms of the set-theoretic relation of isomorphism. This has been strongly criticised by Suarez, who argues that just as isomorphism cannot capture representation in art, so it is inappropriate in the scientific context as well. Similarly Hughes draws on Goodman`s rejection of resemblance in art in favour of denotation and, rather confusingly perhaps, favours the latter whilst also maintaining the model-theoretic view of theories. In this paper, I shall examine the debate in terms of four claims: 1. Isomorphism is not sufficient for representation; 2. Isomorphism is not necessary for representation; 3. Models represent but theories do not; 4. Models denote and do not resemble. Each of these claims will be questioned and I will conclude by suggesting that, through appropriate modifications, a form of isomorphism can serve to underpin representation in both the arts and science. (shrink)

The evolution of Euler diagrams is examined from Euler's original system through the modifications made by Venn and Peirce. It is shown that these modifications were motivated by an attempt to increase the expressivity of the diagrams, but that a side effect of these modifications was a loss of the visual clarity of Euler's original system. Euler's original system is reconstructed from a modern, logical point of view. Formal semantics and rules of inference are provided for this reconstruction of Euler's (...) system, and basic logical properties are proved. (shrink)

Chomsky proposes a reformulation of the theory of transformational generative grammar that takes recent developments in the descriptive analysis of particular ...

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.

Empirical discussions of mental representation appeal to a wide variety of representational kinds. Some of these kinds, such as the sentential representations underlying language use and the pictorial representations of visual imagery, are thoroughly familiar to philosophers. Others have received almost no philosophical attention at all. Included in this latter category are analogue magnitude representations, which enable a wide range of organisms to primitively represent spatial, temporal, numerical, and related magnitudes. This article aims to introduce analogue magnitude representations to a (...) philosophical audience by rehearsing empirical evidence for their existence and analysing their format, their content, and the computations they support. 1 Background1.1 Evidence of analogue magnitude representations1.2 Weber’s law1.3 Scepticism about analogue magnitude representations2 Format2.1 Carey’s analogy2.2 Neural realization2.3 Analogue representation2.4 Analogue magnitude representation components3 Content3.1 Do analogue magnitude representations have representational content?3.2 What do analogue magnitude representations represent?3.3 What content types do analogue magnitude representations have?4 Computations4.1 Arithmetic computation4.2 Practical deliberation5 Conclusion. (shrink)

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing how (...) it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. Philosophers, psychologists and art theorists will find this a sophisticated and stimulating treatment of one of the central topics in aesthetics. (shrink)

This textbook on vision reflects the integrated computational approach of modern research scientists, combining psychological, computational and neuroscientific perspectives.