In Relying on others [Goldberg, S. 2010a. Relying on others: An essay in epistemology. Oxford: Oxford University Press], I argued that, from the perspective of an interest in epistemic assessment, the testimonial belief-forming process should be regarded as interpersonally extended. At the same time, I explicitly rejected the extendedness model for beliefs formed through reliance on a mere mechanism, such as a clock. In this paper, I try to bolster my defense of this asymmetric treatment. I argue that a crucial (...) assumption lying behind the argument I used to establish interpersonal extendedness in testimony cases does not apply to beliefs formed through reliance on instruments. In this respect, at least, there appears to be something epistemically distinctive about relying on another epistemic agent. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

Testimony is an invaluable source of knowledge. We rely on the reports of those around us for everything from the ingredients in our food and medicine to the identity of our family members. Recent years have seen an explosion of interest in the epistemology of testimony. Despite the multitude of views offered, a single thesis is nearly universally accepted: testimonial knowledge is acquired through the process of transmission from speaker to hearer. In this book, Jennifer Lackey shows that this thesis (...) is false and, hence, that the literature on testimony has been shaped at its core by a view that is fundamentally misguided. She then defends a detailed alternative to this conception of testimony: whereas the views currently dominant focus on the epistemic status of what speakers believe, Lackey advances a theory that instead centers on what speakers say. The upshot is that, strictly speaking, we do not learn from one another's beliefs - we learn from one another's words. Once this shift in focus is in place, Lackey goes on to argue that, though positive reasons are necessary for testimonial knowledge, testimony itself is an irreducible epistemic source. This leads to the development of a theory that gives proper credence to testimony's epistemologically dual nature: both the speaker and the hearer must make a positive epistemic contribution to testimonial knowledge. The resulting view not only reveals that testimony has the capacity to generate knowledge, but it also gives appropriate weight to our nature as both socially indebted and individually rational creatures. The approach found in this book will, then, represent a radical departure from the views currently dominating the epistemology of testimony, and thus is intended to reshape our understanding of the deep and ubiquitous reliance we have on the testimony of those around us. (shrink)

Many have held that photographs give us a firmer epistemic connection to the world than do other depictive representations. To take just one example, Bazin famously claimed that “The objective nature of photography confers on it a quality of credibility absent from all other picture-making” ([Bazin, 1967], 14). Unfortunately, while the intuition in question is widely shared, it has remained poorly understood. In this paper we propose to explain the special epistemic status of photographs. We take as our starting place (...) (in §1) Kendall Walton’s startling proposal that photographs are special because they are “transparent” [Walton, 1984] — that is, that they are special because, unlike other depictive representations, they enable us literally to see their depicta.1 Walton’s proposal has not convinced many; however, it has proven surprisingly difficult to say just what is wrong about the transparency thesis. In §§2–4 we’ll rise to this challenge and show why photographs are not transparent in Walton’s sense. Finally, in §§5–7 we’ll propose and defend a novel diagnosis of what is epistemically special about photographs. (shrink)

Welcome to the Post-Truth era-- a time in which the art of the lie is shaking the very foundations of democracy and the world as we know it. The Brexit vote; Donald Trump's victory; the rejection of climate change science; the vilification of immigrants; all have been based on the power to evoke feelings and not facts. So what does it all mean and how can we champion truth in in a time of lies and 'alternative facts'? In this eye-opening (...) and timely book, Post-Truth is distinguished from a long tradition of political lies, exaggeration and spin. What is new is not the mendacity of politicians but the public's response to it and the ability of new technologies and social media to manipulate, polarise and entrench opinion. Where trust has evaporated, conspiracy theories thrive, the authority of the media wilt and emotions matter more than facts. Now, one of the UK's most respected political journalists, Matthew d'Ancona investigates how we got here, why quiet resignation is not an option and how we can and must fight back. (shrink)

Low-level dishonesty is rife everywhere, in the form of exaggeration, selective use of facts, economy with the truth, careful drafting - from Trump and the Brexit debate to companies that tell us 'your call is important to us'. How did we get to a place where bullshit is not just rife but apparently so effective that it's become the communications strategy of our times? This brilliantly insightful book steps inside the panoply of deception employed in all walks of life and (...) assesses how it has come to this. It sets out the surprising logic which explains why bullshit is both pervasive and persistent. Why are company annual reports often nonsense? Why should you not trust estate agents? And above all, why has political campaigning become the art of stretching the truth? Drawing on behavioural science, economics, psychology and of course his knowledge of the media, Evan ends by providing readers with a tool-kit to handle the kinds of deceptions we encounter every day, and charts a route through the muddy waters of the post-truth age." -- Publisher's website. (shrink)

In recent years, a number of philosophers have turned their attention to developments in Artificial Intelligence, and in particular to deepfakes. A deepfake is a portmanteau of ‘deep learning' and ‘fake', and for the most part they are videos which depict people doing and saying things they never did. As a result, much of the emerging literature on deepfakes has turned on questions of trust, harms, and information-sharing. In this paper, I add to the emerging concerns around deepfakes by drawing (...) on resources from vice epistemology. As deepfakes become more sophisticated, I claim, they will develop to be a source of online epistemic corruption. More specifically, they will encourage consumers of digital online media to cultivate and manifest various epistemic vices. My immediate focus in this paper is on their propensity to encourage the development of what I call ‘intellectual cynicism'. After sketching a rough account of this epistemic vice, I go on to suggest that we can partially offset such cynicism – and fears around deceptive online media more generally – by encouraging the development what I term a trained ‘digital sensibility'. This, I contend, involves a calibrated sensitivity to the epistemic merits of online content. (shrink)

Deepfakes are algorithmically modified video and audio recordings that project one person’s appearance on to that of another, creating an apparent recording of an event that never took place. Many scholars and journalists have begun attending to the political risks of deepfake deception. Here we investigate other ways in which deepfakes have the potential to cause deeper harms than have been appreciated. First, we consider a form of objectification that occurs in deepfaked ‘frankenporn’ that digitally fuses the parts of different (...) women to create pliable characters incapable of giving consent to their depiction. Next, we develop the idea of ‘illocutionary wronging’, in which an individual is forced to engage in speech acts they would prefer to avoid in order to deny or correct the misleading evidence of a publicized deepfake. Finally, we consider the risk that deepfakes may facilitate campaigns of ‘panoptic gaslighting’, where many systematically altered recordings of a single person's life undermine their memory, eroding their sense of self and ability to engage with others. Taken together, these harms illustrate the roles that social epistemology and technological vulnerabilities play in human ethical life. (shrink)

This paper defends two main theses related to emerging deepfake technology. First, fears that deepfakes will bring about epistemic catastrophe are overblown. Such concerns underappreciate that the evidential power of video derives not solely from its content, but also from its source. An audience may find even the most realistic video evidence unconvincing when it is delivered by a dubious source. At the same time, an audience may find even weak video evidence compelling so long as it is delivered by (...) a trusted source. The growing prominence of deepfake content is unlikely to change this fundamental dynamic. Thus, through appropriate patterns of trust, whatever epistemic threat deepfakes pose can be substantially mitigated. The second main thesis is that focusing on deepfakes that are intended to deceive, as epistemological discussions of the technology tend to do, threatens to overlook a further effect of this technology. Even where deepfake content is not regarded by its audience as veridical, it may cause its viewers to develop psychological associations based on that content. These associations, even without rising to the level of belief, may be harmful to the individuals depicted and more generally. Moreover, these associations may develop in cases in which the video content is realistic, but the audience is dubious of the content in virtue of skepticism toward its source. Thus, even if—as I suggest—epistemological concerns about deepfakes are overblown, deepfakes may nonetheless be psychologically impactful and may do great harm. (shrink)

Deepfake technology presents significant ethical challenges. The ability to produce realistic looking and sounding video or audio files of people doing or saying things they did not do or say brings with it unprecedented opportunities for deception. The literature that addresses the ethical implications of deepfakes raises concerns about their potential use for blackmail, intimidation, and sabotage, ideological influencing, and incitement to violence as well as broader implications for trust and accountability. While this literature importantly identifies and signals the potentially (...) far-reaching consequences, less attention is paid to the moral dimensions of deepfake technology and deepfakes themselves. This article will help fill this gap by analysing whether deepfake technology and deepfakes are intrinsically morally wrong, and if so, why. The main argument is that deepfake technology and deepfakes are morally suspect, but not inherently morally wrong. Three factors are central to determining whether a deepfake is morally problematic: whether the deepfaked person would object to the way in which they are represented; whether the deepfake deceives viewers; and the intent with which the deepfake was created. The most distinctive aspect that renders deepfakes morally wrong is when they use digital data representing the image and/or voice of persons to portray them in ways in which they would be unwilling to be portrayed. Since our image and voice are closely linked to our identity, protection against the manipulation of hyper-realistic digital representations of our image and voice should be considered a fundamental moral right in the age of deepfakes. (shrink)

Epistemologists of testimony have focused almost exclusively on the epistemic dynamics of simple testimony. We do sometimes testify by ways of simple, single sentence assertions. But much of our testimony is narratively structured. I argue that narrative testimony gives rise to a form of epistemic dependence that is far richer and more far reaching than the epistemic dependence characteristic of simple testimony.

Deepfakes are realistic videos created using new machine learning techniques rather than traditional photographic means. They tend to depict people saying and doing things that they did not actually say or do. In the news media and the blogosphere, the worry has been raised that, as a result of deepfakes, we are heading toward an “infopocalypse” where we cannot tell what is real from what is not. Several philosophers have now issued similar warnings. In this paper, I offer an analysis (...) of why deepfakes are such a serious threat to knowledge. Utilizing the account of information carrying recently developed by Brian Skyrms, I argue that deepfakes reduce the amount of information that videos carry to viewers. I conclude by drawing some implications of this analysis for addressing the epistemic threat of deepfakes. (shrink)

In analyzing oppressive systems like racism, social theorists have articulated accounts of the dynamic interaction and mutual dependence between psychological components, such as individuals’ patterns of thought and action, and social components, such as formal institutions and informal interactions. We argue for the further inclusion of physical components, such as material artifacts and spatial environments. Drawing on socially situated and ecologically embedded approaches in the cognitive sciences, we argue that physical components of racism are not only shaped by, but also (...) shape psychological and social components of racism. Indeed, while our initial focus is on racism and racist things, we contend that our framework is also applicable to other oppressive systems, including sexism, classism, and ableism. This is because racist things are part of a broader class of oppressive things, which are material artifacts and spatial environments that are in congruence with an oppressive system. (shrink)

What is post-truth? -- Science denial as a road map for understanding post-truth -- The roots of cognitive bias -- The decline of traditional media -- The rise of social media and the problem of fake news -- Did post-modernism lead to post-truth? -- Fighting post-truth.

Recent technological innovation has made video doctoring increasingly accessible. This has given rise to Deepfake Pornography, an emerging phenomenon in which Deep Learning algorithms are used to superimpose a person’s face onto a pornographic video. Although to most people, Deepfake Pornography is intuitively unethical, it seems difficult to justify this intuition without simultaneously condemning other actions that we do not ordinarily find morally objectionable, such as sexual fantasies. In the present article, I refer to this contradiction as the pervert’s dilemma. (...) I propose that the method of Levels of Abstraction, a philosophical mode of enquiry inspired by Formal Methods in computer science, can be employed to formulate at least one possible solution to the dilemma. From this perspective, the permissibility of some actions appears to depend on the degree to which they are abstracted from their natural context. I conclude that the dilemma can only be solved when considered at low levels of abstractions, when Deepfakes are situated in the macro-context of gender inequality. (shrink)

Real Likenesses presents a radical new approach to artistic representation. At its heart is a serious reconsideration of the relationship between medium and content in representational art, which counters current dominant theories that make attention to the former inevitably a distraction from attending to the latter. Through close analysis of paintings, photographs, and novels, Michael Morris proposes a new understanding of the real likenesses we encounter in representational art; what they are, how they are made present to us, and how (...) they are created. The result is an intuitive way of thinking about how these art forms work. (shrink)

Recent political developments have made the notion of 'post-truth' ubiquitous. Along with associated terms such as 'fake news' and 'alternative facts', it appears with regularity in coverage of and commentary on Donald Trump, the Brexit vote, and the role – relative to these phenomena – of a half-despised, half-feared creature known as 'the public'. It has become commonplace to assert that we now inhabit, or are entering, a post-truth world. In this paper, I issue a sceptical challenge against the distinctiveness (...) and utility of the notion of post-truth. I argue, first, that the term fails to capture anything that is both real and novel. Moreover, post-truth discourse often has a not-fully-explicit political force and function: to ‘irrationalise’ political disaffection and to signal loyalty to a ‘pre-post-truth’ political status quo. The central insight of the speech act theory of J. L. Austin and others – that saying is always also doing – is as indispensable for understanding the significance of much of what is labelled ‘post-truth’, I’ll argue, as it is for understanding the significance of that very act of labelling. Keywords: post-truth, speech acts, Trump, brexit, Austin. (shrink)

Deepfake technology uses machine learning to fabricate video and audio recordings that represent people doing and saying things they've never done. In coming years, malicious actors will likely use this technology in attempts to manipulate public discourse. This paper prepares for that danger by explicating the unappreciated way in which recordings have so far provided an epistemic backstop to our testimonial practices. Our reasonable trust in the testimony of others depends, to a surprising extent, on the regulative effects of the (...) ever-present possibility of recordings of the events they testify about. As deepfakes erode the epistemic value of recordings, we may then face an even more consequential challenge to the reliability of our testimonial practices themselves. (shrink)

In Black Feminist Thought, Patricia Hill Collins explores the words and ideas of Black feminist intellectuals as well as those African-American women outside academe. She not only provides an interpretive framework for the work of such prominent Black feminist thinkers as Angela Davis, Alice Walker, and Audre Lorde, but she shows the importance of self-defined knowledge for group empowerment. In the tenth anniversary edition of this award-winning work, Patricia Hill Collins expands the basic arguments of the first edition by adding (...) several important new themes. A new discussion of heterosexism as a system of power, an expanded treatment of images of Black womanhood, U.S. Black feminism's connections to Black Diasporic feminisms, and more attention to the importance of social class and nationalism all appear in the new edition. In addition, the new edition includes recent developments in black cultural studies, especially black popular culture, as well as recent events and trends such as the Anita Hill hearings and the backlash against affirmative action. (shrink)

AI, especially in the case of Deepfakes, has the capacity to undermine our confidence in the original, genuine, authentic nature of what we see and hear. And yet digital technologies, in the form of databases and other detection tools also make it easier to spot forgeries and to establish the authenticity of a work. Using the notion of ectypes, this paper discusses current conceptions of authenticity and reproduction and examines how, in the future, these might be adapted for use in (...) the digital sphere. (shrink)

Since 2016, there has been an explosion of academic work and journalism that fixes its subject matter using the terms ‘fake news’ and ‘post-truth’. In this paper, I argue that this terminology is not up to scratch, and that academics and journalists ought to completely stop using the terms ‘fake news’ and ‘post-truth’. I set out three arguments for abandonment. First, that ‘fake news’ and ‘post-truth’ do not have stable public meanings, entailing that they are either nonsense, context-sensitive, or contested. (...) Secondly, that these terms are unnecessary, because we already have a rich vocabulary for thinking about epistemic dysfunction. Thirdly, I observe that ‘fake news’ and ‘post-truth’ have propagandistic uses, meaning that using them legitimates anti-democratic propaganda, and runs the risk of smuggling bad ideology into conversations. (shrink)

In other work I have defended the claim that, when we rely on other speakers by accepting what they tell us, our reliance on them differs in epistemically relevant ways from our reliance on instruments, when we rely on them by accepting what they “tell” us. However, where I have explored the former sort of reliance at great length, I have not done so with the latter. In this paper my aim is to do so. My key notions will be (...) those of our social practices, the normative expectations that are sanctioned by those practices, and the epistemically engineered environments constituted by some of these practices. With these notions in mind, I will argue that one’s reliance on instruments, while relevantly different from one’s reliance on other speakers, can nevertheless manifest a kind of epistemic dependence which epistemological theory can and should acknowledge. (shrink)

Jason Stanley’s How Propaganda Works characterises and explores one democratically problematic kind of propaganda, ‘undermining propaganda’, which involves ‘[a] contribution to public discourse that is presented as an embodiment of certain ideals, yet is of a kind that tends to erode those very ideals’. Stanley’s model for how undermining propaganda functions is Rae Langton and Caroline West’s treatment of moves in pornographic language games. However, Stanley doesn’t consider whether his theory of propaganda might in turn illuminate the harmful nature of (...) pornography, in light of the familiar contention that some pornography acts as a kind of misogynistic propaganda. Drawing on Catharine MacKinnon’s writings on pornography, this paper will explore one way of developing the claim that pornography sometimes functions as undermining propaganda, in something close to Stanley’s sense. Moreover, I will suggest that the discussion points to a new response to the so-called authority problem for Rae Langton’s silencing argument against the protected status of pornography.El libro de Jason Stanley How Propaganda Works caracteriza y explora un tipo de propaganda democráticamente problemático, la ‘propaganda debilitadora’, que envuelve ‘[una] contribución al discurso público que se presenta como si incorporase determinados ideales, pero que es de un tipo que tiende a erosionar esos mismos ideales’. El modelo de Stanley para el funcionamiento de la propaganda debilitadora es el del tratamiento de los movimientos en los juegos de lenguaje pornográficos debido a Rae Langton y Caroline West. Sin embargo, Stanley no reflexiona acerca de si su teoría sobre la propaganda podría, a su vez, iluminar la dañina naturaleza de la pornografía, a la luz de la conocida tesis de que hay pornografía que actúa como una forma de propaganda misógina. A partir de los trabajos de Catharine MacKinnon sobre pornografía, este artículo pretende explorar una forma de desarrollar la tesis de que la pornografía funciona en ocasiones como propaganda debilitadora, en un sentido próximo al de Stanley. Además, sugeriré que la discusión apunta a una nueva respuesta al llamado problema de la autoridad en relación con el argumento del silenciamiento debido a Rae Langton en contra de un estatuto de protección para la pornografía. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

"Catharine A. MacKinnon, noted feminist and legal scholar, explores and develops her original theories and practical proposals on sexual politics and law. These discourses, originally delivered as speeches, have been brilliantly woven into a book that retains all the spontaneity and accessibility of a live presentation. Through these engaged works on issues such as rape, abortion, athletics, sexual harassment, and pornography, MacKinnon seeks feminism on its own terms, unconstrained by the limits of prior traditions. She argues that viewing gender as (...) a matter of sameness and difference--as virtually all existing theory and law have done--covers up the reality of gender, which is a system of social hierarchy, an imposed inequality of power"--Back cover. (shrink)

In this paper I formulate the thesis of the Division of Epistemic Labor as a thesis of epistemic dependence, illustrate several ways in which individual subjects are epistemically dependent on one or more of the members of their community in the process of knowledge acquisition, and draw conclusions about the cognitively distributed nature of some knowledge acquisition.

The recent emergence of machine-manipulated media raises an important societal question: How can we know whether a video that we watch is real or fake? In two online studies with 15,016 participants, we present authentic videos and deepfakes and ask participants to identify which is which. We compare the performance of ordinary human observers with the leading computer vision deepfake detection model and find them similarly accurate, while making different kinds of mistakes. Together, participants with access to the model’s prediction (...) are more accurate than either alone, but inaccurate model predictions often decrease participants’ accuracy. To probe the relative strengths and weaknesses of humans and machines as detectors of deepfakes, we examine human and machine performance across video-level features, and we evaluate the impact of preregistered randomized interventions on deepfake detection. We find that manipulations designed to disrupt visual processing of faces hinder human participants’ performance while mostly not affecting the model’s performance, suggesting a role for specialized cognitive capacities in explaining human deepfake detection performance. -/- . (shrink)

According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...) CTP with Fred Dretske’s distinction between triggering and structuring causes, thereby overcoming the Problem of the Missing Agent. Second, I argue that CTP so amended in fact illuminates two aesthetic interests that we may take in photographs, focussing on photographic portraiture and street photography. Third, I show how reflection on the aesthetics of photography serves to support aesthetic anti-empiricism: the view that the aesthetic value of artworks consists, at least in part, in achievement rather than sensory pleasure. (shrink)

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.

What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. In this respect (...) photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways. (shrink)

Sandford C. Goldberg puts forward a theory of epistemic normativity that is grounded in the things we properly expect of one another as epistemic subjects. This theory has far-reaching implications not only for the theory of epistemic normativity, but also for the nature of epistemic assessment itself.

Pictures are a quintessential source of aesthetic pleasure. This makes it easy to forget that they are epistemically valuable no less than they are aesthetically so. Pictures are representations. As such, they may furnish us with knowledge of the objects they represent. In this article I provide an account of why photographs are of greater epistemic utility than handmade pictures. To do so, I use a novel approach: I seek to illuminate the epistemic utility of photographs by situating both photographs (...) and handmade pictures among the sources of knowledge. This method yields an account of photography's epistemic utility that better connects the issue with related issues in epistemology and is relatively superior to other accounts. Moreover, it answers a foundational issue in the epistemology of pictorial representation: I argue that photographs have greater epistemic utility than handmade pictures because photographs are sources of perceptual knowledge, while handmade pictures are sources of testimonial knowledge. (shrink)